Subtitles of the Movie

One of the coolest things unique to Pro Tools is that you can bounce out midi with audio. You just route your auxiliary track to your main and bounce; and to be included in bounce, all tracks must be routed to a single main. And this simple method will work great for you in most cases, but we can get into advanced routing as well, where we have multiple masters for head phone, cue mixes or we can send sub mixes out, bring them back in and send those out our bounce along with our main mix. So here you see me pull down the main 1, 2 output from the Pro Tools interface, fish it back up, and now I'll pull it down from my external mixer. I can control it either way, and the whole time I was doing that, my drum track was completely unaffected. Let's go over here on another master; so I could do the same thing here as well. Pull it down in the interface, bump it back up, pull it down on my outboard mixer. So really you see, working in Pro Tools is the equivalent of working in a giant studio, with a huge board, where we have routings and controls that facilitate our outboard hardware, and extend our outboard hardware; and as we add gear, Pro Tools grows with us. Let's move ahead. Now this is cool trick for when we are doing mixing where we want precise metering of each individual or multiple tracks. We hold down command and click on the level peak delay indicator to scroll through the 3 choices, where we see the delay in samples caused by plug in processing, where we would then nudge the delayed track back in time, which would move it earlier in the time line, compensating for the delay. But in many cases this delay is not extremely noticeable, so you don't have to get too bent out of shape about it. When we hold control+option, to cycle through all tracks simultaneously. This is great for checking your peak values when you are mixing. Then you could isolate which track or tracks might be causing your accumulative signal to be too hot. [00:02:23 .0] And then we switch it back; the peak meters are great for fine-tuning our mixes, because we can have one or two tracks that are running too hot and will put us in a position where we've hit our ceiling; then when we try to compensate by smashing it with a limiter, we've effectively ruined our mix. Okay, let's review some more. With the midi track, we can flip on record whether we are in playback or stopped, but not so with an audio track, which we must be stopped in order to arm the track. So once I am rolling, I can't flip this off until I stop again. But I could arm and punch; and then we use the keyboard for more powerful selection options - where we hold down shift to select noncontiguous tracks or to include or exclude tracks from a selection of tracks. Click once for solo, command+click for solo safe, which also works on record. For record safe, we have mute, record and option+click for multiple; then we go down, select a couple of tracks, head back up, option+click for multiple, option+shift+click for selected and also with soloing. And with muting, and with our automation controls; option, option+shift and option+shift again. Gets to be a bit like doing a tap dance on the keyboard, but it really saves a lot of time. And also with our plugins where we select holding down nothing and we bring up a single plug in, lose that and option + select. We have multiple instances, but you notice they only landed on the mono tracks; this time option + shift, and on the selected tracks, but once again only the mono track - because it has to be the same kind of track. And there is more to sum up about tracks, so let's go through it. Multiple midi channel designations: we are on the Triton where we had just channel 9, you see the plus symbol there, and we can select or deselect additional channels and also on auxiliary tracks and audio tracks. It's done by control + clicking where we make the designations; and there is our plus sign and as we take them out, the plus sign disappears and we are back to normal. Okay, sliders where we change the value, option + click to set back to default and up on our pan sliders as well, option + click. And control + click for fine resolution of the slider movements on the pan and volume. These are called universal key commands because they work consistently throughout the interface, like our plugin sliders and option + click to send that back. Okay, by now I hope I've given you a foundation that you can use to start building your songs, with the tracks being the centerpiece. Your productions, and the routings, and the track controls being the parameters that you use to craft your art. As I take us out of the session elements chapter, I've narrowed the track view here so you can see the whole mix here again. Study the routings, keep your eye on the meters. And it fades out from my external mixer. And I'll push that back up, and then take it down from the interface.