Composing with Pro Tools
We're going to jump right into composing with pro tools now we've added one track with kind of see how we're going to edit that I mentioned right at the beginning that there's also ways that you can actually send multiple many tracks to the same instrument plug in on something like the x two for example expand too has multiple channels that you consent to so we're going to kind of see how you set that up so you got this one part maybe wanted to add a different parts so we're going to go ahead and again hit shift command and create a new mini trach this time instead of an instrument track um like I said, an intimate track is the same as a mini trach except a mini track you can send multiple many tracks to the same instrument track so we'll do that um pops up here is many were going mitt name this we'll call it a lead part was called lead for now and kind of see what comes up with um the important thing is we're going on the quartet, which is where it's being sent and if you see it gives...
me many options of where I want to send that many track I've got all these virtual instruments up and I want to know exactly where I'm gonna send it so brings up expand which is where I want to send it and if you see it also gives you the option of channel one through four, so we're going to send us to channel two so that it doesn't interrupt what's happening on channel one, and we'll switch this to channel to the b bank, and then we'll bring up a separate lead here and we'll try, like, a hard lead way. We'll try to be a little less. Ah, I think so, and a lot of these you can, you know, start with something don't feel like you have to have the perfect sound, right? Is your recording, sometimes you just want to get something you can live with right the part out and then go back and change you can kind of keep going back and forth. S so it's kind of cool for now, we'll start with that. So now you'll see the mini track is actually sending from here into expand. So we're going to kind of dive into that and see how that goes. Maybe we'll run ads and stuff to the chorus here wait sort of like kind of messing around and trying some different ideas. Nothing has to be, you know, exactly how I wanted to try to record something, then we'll see where that way. And again, I've recorded this part now but I want to go back and edit it so I'm gonna turn off the score here and I want to do the same thing I did before we're going toe first go through and kind of quantity is this just to kind of clean up the down beats? So what event operations and it quantifies this time a little sixteenth note on let's listen to some of these tracks some of them were pretty good but we wanted to try to fix a cup those notes change earlier ah wei, get rid of that before dragging cancel out no behind it wait and this last we want to bring down the velocity a little bit because we don't want that is loud wait a couple different parts and again I could add even to more parts to that same x stand plug in on two different channels you can continue to work on that once we have the parts kind of set what I'm gonna often do is on ly keep the actual virtual instrument in the session. Once I know that the part is good, I'm going to go and hide those many tracks because once there said I only need to see the master level it's sending off for them instead of having a whole bunch of extra many tracks and we'll talk a little bit about track management later this afternoon but we're getting pretty close. We've got some different ideas again. If we wanted to copy us to the second chorus, we're just want to make sure that it's all set to the same grid into the same region, so we're going bring us in, said the grid to one bar copy. We've got many merge on, so that I'm sorry, mirrored many editing, solidify copy to the second verse and make any changes that keeps the exact same changes on any adoration on. I could just keep doing that and start adding more and more tracks, changing the tones. And as I start to compose, you can start to kind of build the rest of your session using many stuff.
Learn the ins and outs of Avid's Pro Tools HD, the recording industry’s most comprehensive DAW, with Zach Varnell. Zach is an industry veteran, who has worked in dozens of studios throughout Seattle. In this comprehensive guide to Pro Tools, he’ll share the best practices he's picked up over the years.
In Pro Tools Essentials, Zach will walk you through the entire mixing platform including the intricacies of bussing, VCA groups, key input, HD functionality, and notable plug-ins. He’ll also show you how to create custom impulse responses from time-based outboard gear and rooms.
You will learn about Elastic Audio and Beat Detective along with a comprehensive workflow and track management process and how it can be applied to a studio session with a band or film scoring with triple-digit track counts.
If you are ready to take your Pro Tools game to the next level or just want to brush up on some time-saving techniques, don’t miss Pro Tools Essentials with Zach Varnell.