Skip to main content

Pro Tools Essentials

Lesson 15 of 31

Segment 15 - I/O Setup

 

Pro Tools Essentials

Lesson 15 of 31

Segment 15 - I/O Setup

 

Lesson Info

Segment 15 - I/O Setup

the next thing we're gonna do, I'm gonna go and close. This is setting up the bus window, and this is something or the Iot set up. Um, this is something that's really specific to each studio specific to your set up. So there's no right or wrong way to do this. I'm gonna go ahead and show you, sort of like how to sort of navigate this part, how to sort of like, maybe saves in time while you're setting some stuff up, and then something that you should know about using bus sends and saving sometime as well. So I've completely cleared out everything about the IAU said, if there's nothing going on, if I was to open a session, I wouldn't be able to record anything because I haven't done anything with the Iot set up. Um, the first thing that you're gonna do is choose the playback engine, and right now I've chosen the quartet is the playback engine. So when I pull up the Iot set up on the top part right here, it's showing me all the available inputs and outputs for the quartet. The quartet has...

four analog inputs and eight digital inputs as well as eight analog outputs that I can name and label whatever I want. I can create paths on this side and then be able to save those settings so that anyone could be able to open them and use them in the future, whether it's a different studio or a different engineer or even just for me later on. Um, it's really important to do this in studios to set up, especially if you have multiple rooms. So if you're like, let's say, working in Studio A or even just a different studio, like, say, you're recording at a friend's house with a 24 inputs and you recorded much attracts and then you want to take it back to your own studio and you only have four. Instead of trying to rename or figure out what got assigned to which he would just load up your customer no settings and easily get to work and get and get started, not have to try to guess which one each was called, Um, so we're going to add some new paths right now. I'm gonna create on, and this is sort of a good practice, but it's good to also think about stereo and mono tracks together and think about mono tracks. Is sub paths of each stereo track something to create, too Stereo paths. And then down here, I'm going to say auto creates sub paths were gonna pop up and say, Input one in platoon and I'm gonna change that to stereo one in stereo, too. And then the sub paths. I'm gonna change as model one model to Model three and model. For now. All of my inputs, I can either use them a stereo inputs, or I can use them with mono inputs. And the reason that you would want to set up stereo paths is that if you wanted to add a stereo channel in pro tools, you have to have a stereo path assigned to it. You can't have assigned to mono pass to a stereo track. You have to have a stereo path that's created. So that's just something good to know. For these. I'm gonna create four stereo output paths, and those were just auto labeled output. 123 and four, and we'll just sort of like a sign those across, um, and then we come to buses. And if you notice what happens when I added outputs. This is something new for approach was 10 and 11. Outputs are not the same as buses anymore or don't supercede buses. It used to be if you had an output, it was just a output and there was no bus assigned to it. Now you have to assign a bus to an actual physical output. It allows one more degree of connecting those two things together. So even though you have an output set up in pro tools, it doesn't mean that you're able to bust anything that output until you add it in the bus window. So it's something good to know. Um, so right now, over here, I have to map all of those individual outputs which have left and right channels to each of their physical outputs that I added Over here. After that, I want to use buses approaches to send things like reverb to use things like bus compression. And tomorrow, when we start to set up a mixed session, you're going to see how we sort of like set up a large mixed session with all these buses. And if you don't name them customized then a lot of times it gets really tricky to remember. Like his bus seven and eight. The guitars, Or is that the drums? So it's really good to sort of, like, know in advance how you want to mix and then have buses set up for that. The first thing I'm gonna do is also, um, set up a headphone bus. Creates around don't need to create some bastard. So we'll just call this headphones and usually the first output left and right. I'm just gonna call. Um well, we'll do this. Over here is a little auto name. We're gonna call this master out so that we know that's our main output that we're using and seen out. Auto changes the bus as well. Um, so also put those down there. Okay, so you have master output, master 23 and four. We have a headphone send. Had fun centers, just internal. Now we want to start adding different paths that we can create to use internally. So here's some of the ones that I used. You can totally customize these. However you want. I'm gonna go ahead and add. I'm just gonna say 12 stereo buses so I can quickly add and name them the 1st 1 I'm gonna call drums the next one. I'm gonna call, um, drums smash the next one. I'm gonna call, um, base, then, uh, guitar one. It's hard to its are three. And I'll do you stick guitar. I'll do piano us, Oster say keys, lead vocals back on vocals. And will do, Um, uh, what else we do with the choir? So now have all these different tracks that I could possibly used in the busing and they're already set up. Doesn't mean I have to use them all, but they're all there in case I wanted to use him. Now I'm gonna add effects sense. I'm gonna add six different stereo effect sense for different types because you never know what you're gonna need. I'm gonna use, uh I will say drum plate will say drum room ambience, um, guitar room or will say guitar reverb. That's more generic. Will say local reverb. Well say echo. So now I have all these custom buses I can use. The last one I'm gonna add. Um, you might not think about right away, and I'll explain this tomorrow, but I'm gonna have add, uh, four new mono of buses and this is gonna be called key and put one, 23 and four. And what this is used for is when we start to do side chaining, which we're gonna talk a little bit about tomorrow when we get into mixing side. Cheney compressors need a dedicated mono bus. To be able to use is the key input. So it's nice just to have those set up in your session already, and you don't have to add them when you're gonna use them. Um, so these are all of my buses. You might have more, you might have less. There's lots more to go through. Go through. There's all different kinds of ways to set this up. This is just like a standard set up that you might want to think about. The next step is inserts, and you might not originally think about this. But if you use any outboard gear and mixing, sometimes this is really valuable. You can pull them up almost like you would pull up insert plug ins. If I have like a stereo compressor, I can add hard patch that into some of my outputs on my Iot device on my hardware and then set it up is an insert, and it's always there, and I can always just immediately pull open in certain pat straight into that. If I want to use it instead of trying toe manually, patch it, depending on how you have your studio set up. If you have analog gear, sometimes it's really helpful to have inserts set up. If you don't, then don't worry about it. Um, my cramps. Sometimes, uh, there are a pro tools can control. Mike preys on some types of interfaces, so you can set those up. Harbor Insert delay If you have inserts in your mixing with inserts like we talked about Layton. See this morning when there's late and see in the recording and you start mixing, it's shifting all of the tracks that are running out through the analog to digital converter and then back in through the D A. I'm sorry the other way around, out for the D A. Back into the 80. There's time delay on that, and it's going to shift all of that stuff later in your session so you can program for that. You can figure out what your actual down to the millisecond is delay on your analog gear if you're using an insert and program that into the hardware, insert delay so that when you ever you pull out up that session or pull up that insert in this session, all of the of attracts automatically adjust forward. Whatever that insert delay is to compensate for the latent. See that happening? So that's really helpful to, and it's a good thing to think about. Before that happened, you had to manually line it up backwards by moving it sample by sample, which I had to do before. That was really annoying. Um, okay, so we've got our inputs and outputs are buses inserts one more thing down here. Um, there's different surround sound setups. We're not gonna talk a ton about surround, but if you have, there's different ways of mapping out the channels of 5.1 surround. So 5.1 surround is typically left right center. Not these on an order, but left right center left rear, right rear and sub. There's six channels. There's different ways of mapping that out. The C 24 has left center right, left back right back and then sub sort of like the standard symptom is left, right, center sub left back, right back and so on. So you should know which one you're using and set that up accordingly. Um, and then, um, let's see if you go to output Path or some other options here to you. Set your default output. However you want it. Your stereo. Sending This is really important to depending on what sort of speaker control you're using. Right now. It's super simple. It's just too channels that stereo. We're feeding it stereo. It's easy if you have a seat. 24 which I mixed on in my last studio. You have to patch left and right channels one and three and set that up. Otherwise, you're setting the Left Channel Mono Center or LCR, which is not what you want to be doing, and you'll end up with weird phasing issues. When you're mixing eso, you want to make sure that your monitor format is set correctly. Audition paths, something you have to set up if you notice. Earlier today, when we were soloing and auditioning different drum loops to use in the import dialog box, there's a little play bar where Aiken solo and listen to the tracks before importing him. Those get imported through the audition path, and so I have to set that up. And if it's not set up, they won't play. So you have to go in the audition path and shoes. I'm gonna use the master output for my audition path. That way, the audition path is set up. Any time I try to play something, it's gonna automatically go through that. And then the default output buses. Always good to make sure it's set to whatever you're gonna use. So whenever you add a new track, it automatically set to that output in Just save you time. Um, OK, so that's basically like the whole Iot set up. I know it's not super fun and exciting, but that's basically the concept. Um, now that that's all set up. We've got everything in order, and once we're pretty sure like I think this is my standard studio set up when I'm at home. The next thing I want to do is hit export settings and save these as let's say, I'll call it, um Creativelive Quartet. And so these air now the settings in any time I pull up a session from another studio, in it defaults to whatever I owe setting they have. I could just open up I authentic and click import settings, or even when I'm creating a new setting. Choose that from the list of Iot settings options and be able to import those quickly. One thing you should know really quick about import settings. It only imports it to the current tab that you're on. So if I import settings on the input tab and override those, it'll Onley import those on the input tab. I have to do it for every tab. Otherwise it'll just leave with those. OK, any questions? So far, all that stuff? Yeah, a Z Tech audio has a couple questions. Is a good or bad to? Is it a good about her idea to name the I O Paths as per track, for example, kicks their hats. Tom etcetera. That's a good question. I typically don't. I named them after what inputs in the studio they're using out. So sometimes I find like I could set up a studio where, like Channel One is always gonna be my A P I preempt, for example, that I would say a P I Channel one, but I don't know that I'm always going to use that for kick. But if you knew that for sure, that's how you like to work. And you know that Channel One is always gonna be your kick drum. Then you could set it up his kick, Um, and just save it that way. I mean, there's no right or wrong way to set it up. It's whatever you feel like it's easiest for you. Do you take one more? Yeah, OK, same. Same person asked this question high. Great Webinar! Thanks. Learning a lot Question about clip game. Can I set select multiple regions and adjust them all to match at one time? So a whole bunch of different things maybe recorded on different days and wants to match the level of those the volume level you have to be questions. So regarding clip Gate, we're actually gonna cover it. We talk about automation more tomorrow, but clip gain is something that's new and pro tools 10 and 11 which is super useful. Actually, I'm not sure if it's in 10. I can't remember, but clipping is great to be able to adjust the volume of specific clips before they get to the fader. So it's pre fader, which is important to know, and I'm not sure what. The question is asking whether you're asking if you can select multiple regions and adjust the clip gain the same for all of them automatically so started, like normalized based, so normalizing, right? So that was my question. What it sounds like you're saying is you want to normalize the audio track so they would all have different clip gains, but they don't end up with same value in the way you do. That is select multiple regions and normalizing to the reasons to a specific value. And then they would all be set equally, and they would all have different clip gain to compensate for whatever they were recorded at. But they that it would be to use the normalized command for sure.

Class Description

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.  

Reviews