MUSC1010 – WEEK 9

1. MUSC1010 – WEEK 9 Pro Tools Audio Techniques

3. ADDITIONAL SOUND SAMPLES You are invited to explore the extensive collection of free sound samples available at www.freesound.org. This is an excellent source of sound samples for non-commercial purposes. If you use one of these samples in assignment 3, please acknowledge the sample's author in the "comments" section for that track.

4. Loop Trimming Right click a region to enable region looping, or just use the trim tool set to loop mode. Once enabled, you can just click and drag to extend iterations to fill the desired duration. Tick-Based and Sample-Based Time Pro Tools allows you to choose whether tracks are sample-based or tick based. In a sample- based track regions and audio slices are placed according to time (minutes and seconds); The position of regions is unaffected when alterations are made to the tempo. = tick based = sample based If a track is tick-based then the placement of regions and audio slices is made with respect to bars/beats/ticks. If you increase the tempo of a session, the regions and slices on tick-based tracks will move closer together.

5. Elastic Audio Elastic audio represents a significant advance for Pro Tools in accepting the emerging popularity of simple loop based sequencers like ACID, and audio time stretching processes based transient recognition. Elastic audio makes it easy to quantise an audio recording. It also enables you to conform the rhythmic nuances of one human performance to another (in conjunction with Beat Detective and groove templates. Elastic Audio features can be used on sample-based or tick-based audio but remember that only tick-based audio will respond to changes in the session’s tempo. To enable elastic audio on a track click on the Elastic Audio Plugin selector (see above). To view where the slices are placed by default, choose the warp view. You can remove irrelevant slices by Alt-clicking them or double-clicking them. Quantising is the same as for MIDI, but you must choose Elastic Audio events as the events to quantise;

6. Side-chain processing This process is used with compressors to create automatic “ducking” of background music during a voice-over. It is also used with compressors to generate a pumping effect on sustained sample or synth sounds as used by Madonna, Daft Punk, Eric Prydz. To set up an instance of side chain compression you need at least two tracks. Ideally one will contain a sound that has a lot of sustain, e.g. a pad sound or smooth strings sound. The other will contain something that has a more of a rhythmic nature, e.g. a kick drum track. The rhythmic track becomes the key input for the compressor on the sustained sound. Choosing the key input for the compressor • Enable a SEND from your vocal track or kick drum track (choose any bus that is not already being used). Boost the level of this send to 0db. • INSERT a compressor on your Music Mix track. • Enable the blue “Key” button on the right hand side of the compressor dialogue • Choose the correct Key Input in the top left of the compressor dialogue. This should be the same bus you chose in step 1 • Lower the threshold and boost the ratio until you get a noticeable effect. • Tweak the attack and release times until the timing is appropriate.

7. Master Fader The master fader should have a hard-limiter (Maxim). Interesting effects can be generated by adding further compression. It is important to place any other effects or compressors before the hard limiter in the signal chain. The Audio Regions List Clean up before submission. Right click the top where it says “Audio” Choose Select > Unused Regions Then Clear

8. Check list for Assignment 3