RECORDING TECHNIQUES WITH PRO TOOLS OUTLINE AND SCHEDULE

 

RECORDING TECHNIQUES WITH PRO TOOLS OUTLINE AND SCHEDULE

5 WEEK BRONZE WORKSHOP

DAY 1 WEEK 1

Introduction

  • Understanding sound
  • Amplitude
  • Frequency
  • Phase
  • Velocity
  • Wavelength
  • Harmonic Content
  • Envelope
  • Reflection of sound
  • Relationship to light

DAY 2 WEEK 1

The rest of the connection to sound is within us

  • A further understanding of the genre
  • Understanding the analog signal flow
  • Understanding digital audio
  • Understanding the digital signal flow
  • Bit depth and Dynamic range
  • Quantization and errors
  • Fixed point vs floating point

 

Recording in Pro Tools

DAY 1 WEEK 2

Creating Sessions

  • Create new sessions
  • Saving a session
  • Save, Save As, Save Copy In, and Saving a session as a template
  • Creating session from template
  • System template categories
  • Converting files between sessions and templates
  • Set the Song Start Time

 

DAY 2 WEEK 2

Working with your computer and Pro Tools

  • Import Track Data from Previous Session
  • Mac OS System Optimization
  • Windows 7 System Optimization
  • Creating a blank session
  • Opening a recent session
  • Opening an existing session
  • DAE playback buffer
  • Disc casche
  • Adjusting the cache size

 

DAY 1 WEEK 3

Working With The Edit Window (Part One)

  • System usage meters
  • Working with other meters
  • Recording features in the edit window
  • Other parts to the edit window
  • Show hide sub window
  • Clip area
  • Clip list
  • Ruler view
  • I/o settings

 

DAY 2 WEEK 3

Working With The Edit Window (Part two)

  • Creating new tracks
  • Adding tracks during a recording session
  • Audio tracks
  • Midi tracks
  • Video tracks
  • Auxiliary inputs
  • Master faders
  • VCA masters
  • Shortcuts for creating a track
  • Creating click track
  • Setting session tempo
  • Setting session meter
  • Recording clips
  • Recording modes in Pro Tools (Normal, Quick Punch, Loop Record, Track Punch)
  • Importing Audio into Pro Tools
  • Main windows in pro tools edit/mix/transport
  • Clips—
  • View selectors in the pro tools edit window
  • Track view selector
  • Using the keyboard to navigate Pro Tools

DAY 1 WEEK 4

Working With The Edit Window (Part 3)

  • Modifier keys
  • Changing parameters across tracks simultaneously
  • Changing parameters on tracks with the edit cursor
  • Changing the state of a parameter when clicked on
  • Focus keys
  • Function keys
  • Numeric keys
  • Understanding the pro tools menu philosophy

 

 

Pro Tools Vocal Recording Workshop

DAY 2 WEEK 4

The Voice As A Tone Generator

  • Listen to the voice
  • Rate the voice
  • Studying the facial structure
  • Miking the voice at the tip of convergence
  • Using more than one mic on a voice
  • Using more than two mics on a voice

DAY 1 WEEK 5

Routing

  • Set up a cue buss for headphones
  • Using a large scale analog mixer
  • Using the mixers headphone output
  • Creating the aux/buss/headphone system
  • Pro Tools I/O setup
  • Pro Tools Advanced I/O setup
  • Setting up delay or reverb in the headphones
  • Setting up an eq on the vocal headphone cue
  • Creating the pitch corrected vocal live
  • Using a compressor before the interface
  • Using a compressor in the box
  • Picking a record mode

DAY 2 WEEK 5

Vocal Recording Techniques (Part 1)

  • Loop recording with multiple takes
  • One take drag and drop
  • Punching in and overdubbing
  • Recording a great vocal
  • Recording background vocals
  • Record the back ground vocals twice (double tracked)
  • Use more than one technique for recording the back ground vocals
  • Design a back ground part that harmonizes with a key instrument or a lead voice.
  • Add more harmony parts when the song is more intense

BRONZE WORKSHOPS ENDS

SILVER LEVEL BEGINS

Here is where the 5 Week Bronze Workshops end.  At this point a student will have an understanding of how Pro Tools works, be able to record basic instruments, be able to make proper decisions on the correct usage of a mic design, and be able to run a recording session on their own.  Students will also be able to use a few vital shortcuts, setup a headphone cue mix, and dynamically perform accurate multitrack punch-ins.

From this point we begin focusing on very practical applications in the recording process as it applies to specific instruments and room mic techniques.  It is possible to upgrade to the Silver, Gold or Platinum level at this point if you feel it necessary to do so.

 

DAY 1 WEEK 6

Vocal Recording Techniques (Part 2)

  • Recording voice overs
  • Recording whispers and whistling
  • Using quick punch for vocal recording
  • Punch-in on the fly
  • Punch-in using pre and post roll
  • Using Loop Record
  • Recording and compositing multiple takes
  • Recording to multiple playlists

 

Pro Tools Drum Recording Workshop

DAY 2 WEEK 6

Drum sounds

  • What affects the sound of a drum?
  • Choose an ideal room for drums
  • Placement in the room
  • Leakage
  • Technique for finding the correct place to place drums:
  • Tune the drum set

 

DAY 1 WEEK 7

Working With Drum Sounds (mic techniquest)

  • Tuning check list
  • Snare
  • Kick
  • Toms
  • Decide on microphones for the job
  • Microphone designs
  • Dynamic mics:
  • Ribbon mics:
  • Condenser mics
  • Overheads
  • Microphone placement techniques
  • Stereo mic’ing techniques
  • Spaced or (a/b)
  • X/y
  • M/S
  • Blumlein
  • M/s pro tools / mixer trick:
  • Orchestral decca tree
  • Single distant mic’ing techniques
  • Close mic’ing
  • Distant mic’ing
  • Accent mic’ing
  • Ambient mic’ing

 

DAY 2 WEEK 7

Getting Analog Drum Behavior Out of Digital Equipment(Part 1)

  • Analog vs digital placement approach
  • Let’s look at the mechanical side of the Analog Tape Recorder to begin with
  • Pro tools recording of the kick drum
  • Choose an ideal room for the drums
  • Choose drum placement in the room
  • Tune the drum set
  • Listen to the front and back of the drum set
  • Listen to the overheads from above
  • Mic the overheads
  • Decide on microphones for the job
  • Mic the kick drum
  • Mic the hi hat
  • Mic the snare

 

DAY 1 WEEK 8

Getting Analog Drum Behavior Out of Digital Equipment(Part 2)

  • Mic the rack toms
  • Mic the floor tom
  • Set up room mics
  • Create tracks
  • Create click track
  • Pro Tools Monitor modes
  • Establish tempo or tempo map
  • Drive tempo from an audio loop
  • Establish meter or meter change
  • Set input levels on the meters
  • Set up auxs for headphones
  • Record drums
  • Single mic technique
  • Stereo mic technique
  • Three point system
  • Four point system
  • Individual miking
  • Individual miking with digital recording in mind
  • Working in Dynamic Transport Mode

 

Pro Tools Bass Guitar Recording Workshop

DAY 2 WEEK 8

The Sound of The Bass by Design

  • Bass sound defined
  • Using a di
  • Distortion
  • Digital emulators
  • Using a single mic and where to place it
  • Using a ribbon mic
  • Multi-mic’ing the bass
  • Metal bass tone
  • Classic electric bass sound
  • Classic sound 1
  • Classic sound 2
  • Phase and time differences

SILVER LEVEL ENDS

GOLD LEVEL BEGINS

The SILVER LEVEL ends at this point.  All students who take this level will be able to begin freeing their creative minds as it applies to dealing with vocals, drums and bass.  There are many genres and styles that rely on an individual to be very solid in those areas in order for the project outcome to become successful.  Here marks the beginning of the GOLD LEVEL. In todays music the guitar has become a staple of American music as well as abroad.  The GOLD LEVEL focuses on dealing with all types of guitars almost at the Master Class level.  Students who enter this level not only will have the skill set to create any sound possible with it but also will posses the tools that can make them competitive in the recording industry.  These weeks will prove to be a hard shaping experience for life!

DAY 1 WEEK 9

Solo Recording Techniques (Back To BASSics)

  • Pro tools solo modes explained
  • How to select a solo mode
  • What is considered non-destructive solo modes
  • What is considered non-destructive solo modes
  • Solo Button Behaviors
  • Latch
  • X-OR
  • Momentary
  • Dealing with a stereo synth bass track
  • Pro Tools Solo Settings
  • Recording acoustic upright bass
  • Using a compressor during recording
  • Should you use an EQ during recording

 

DAY 2 WEEK 9

The Shortest Most Important Chapter

  • Using quick punch and track punch
  • Setting quick punch and track punch crossfade preferences

DAY 3 WEEK 9  (LAB DRILLS)

Round and round applications of punch techniques and dynamic transport

  • Using quick punch and track punch
  • Using Pre Roll and Post Roll settings
  • Loop Record and Playlist Settings
  • Setting quick punch and track punch crossfade preferences

Pro Tools Acoustic/Electric Guitar Recording Workshop

DAY 1 WEEK 10

Guitar Placement Techniques

  • Listen to the guitar and rate it’s sound aggression factor
  • How to listen to the guitar in the actual room
  • How to listen under headphones
  • Where to place the amp
  • Listen to the amp in the room
  • Decide on a mic technique
  • Should you use a DI

DAY 2 WEEK 10

Guitar Miking And Headphone Techniques

  • Deciding on a mic technique
  • Setting up a microphone for the guitar
  • Using more than one mic for the guitar
  • Creating a headphone mix for the player
  • Setting up tracks for the acoustic guitar
  • Coarse adjustment of placement
  • Fine tune adjustment of placement

 

DAY 3 WEEK 10  (LAB DRILLS)

These drills focus on mic rating and instrument rating as well as drill on setting up headphone cue mixes from scratch.

  • Headphone mix using multiple auxs and multiple physical outputs
  • Creating tone of the guitar through mic placement
  • Stereo and triple guitar mic techniques for speed
  • Recording the ambience of an instrument

GOLD LEVEL ENDS

PLATINUM LEVEL BEGINS HERE

DAY 1 WEEK 11

Great Electric Guitar Workshop

Electric Guitar-The Different Animal

  • What affects the sound of the Electric Guitar
  • Type of wood or material
  • Pickup Placement
  • Types of Pickups
  • Tone Controls
  • Frequency range
  • Things that can make your electric guitar sound bad
  • How to listen to the guitar amp in the actual room
  • Should you use a DI
  • RE-AMPING ANDMULTIPLE AMPS
  • Single Mic to Amp Techniques
  • DISTANCE
  • Using Two Mics Together
  • Phase matching
  • Different Speaker Cones
  • Ambient Mics
  • Although shunned by a few famous producers
  • combining the close and ambient techniques
  • multiple amps
  • creative use of phase cancellation between microphones

 

DAY 2 WEEK 11

Window Configurations and Memory Locations

  • Window configurations
  • Settings in window configurations
  • Window configuration list
  • Recalling and updating window configurations
  • Memory locations
  • Settings in memory locations
  • Memory locations list
  • Recalling and updating memory locations

 

DAY 3 WEEK 11 (LAB DRILLS)

Window Configurations and Memory Locations

  • Using the DI and splitting the signal for speed
  • Creating Window configurations and using their shortcuts for efficiency
  • Creating and recalling both time based memory locations and non time based ones
  • Recalling and updating window configurations

DAY 1 WEEK 12

Controlling the Guitar Sound

  • Create a track or tracks
  • Create a headphone cue mix
  • Turn up the amp or the pre amp and listen for tone
  • Decide on height
  • Decide on distance
  • Using a compressor while recording

 

DAY 2 WEEK 12

Recording Other Guitar Like Instrument

  • Recording other stringed instruments
  • Banjo
  • Mandolin
  • Dobro

 

DAY 3 WEEK 12  (LAB DRILLS)

Recording Other Guitar Like Instrument

  • Fiddle Solo vs Fiddle ensemble
  • Banjo
  • Mandolin
  • Dobro

PLATINUM LEVEL ENDS–  YOU ARE A JEDI!

MASTER CLASSES

While the BRONZE through PLATINUM workshops occur during the week days, MASTER CLASSES are scheduled on weekends in 3 day increments at 6 hours per day with a lunch break.  They are designed to accommodate professionals who wish to sharpen their skills in a particular area of recording.  Those who have taken the PLATINUM LEVEL of workshops are welcome to attend as this information is fresh in their minds and can be helpful to those who haven’t seen the information in a while if ever.  It’s all practical at this point and moves with a very brisk pace.  They can begin on the 13th week focusing on correct recording of great guitars along with Pro Tools shortcuts that are much needed.

 

Pro Tools Rock and Country Band Recording Workshops

DAY 1 WEEK 13  PROJECT

 

Recording the rock band tracks

  • (Lecture)
  • Studio assignments
  • Production meeting with the band and establish production plan and review of the bass techniques
  • Production meeting with the band and establish production plan and review of the guitars techniques
  • Production meeting with the band and establish production plan and review of the drums techniques
  • Production meeting with the band and establish production plan and review of the vocal recording techniques

 

DAY 2 WEEK 13

Record basic rock band tracks

  • (Session Guide)
  • Creating explosive drums using placement techniques
  • Getting the best sound of the bass through DI and deciding on isolated miking
  • Isolate guitars and maximize their sound through stereo placement techniques
  • Record superstar vocals with pre fader compression and fader riding techniques while setting up necessary cue eqs and effects for performance enhancement.

DAY 3 WEEK 13

Record rock band overdubs

  • (Session Guide)
  • Prep for Mix Class
  • Clean up tracks and unused takes
  • Evaluate the recorded tracks and session (Session Guide)
  • Decide on changes and finish up

 

DAY 1 WEEK 14   PROJECT

Recording the basic country or folk band tracks

  • Establish production plan and review of the bass
  • Establish production plan and review of the guitars (Include pedal steel)
  • Establish production plan and review of the drums
  • Establish production plan and review of the vocals
  • Establish production plan and review banjo, dobro, mandolin

 

DAY 2 WEEK 14

Record country band tracks

  • (Session Guide)

 

DAY 3 WEEK 14

Record country band overdubs

  • (Session Guide)

 

Evaluate the recorded tracks and session (Session Guide)

  • Decide on changes and finish up

DAY 1 WEEK 15   PROJECT

Two Turntables and A Microphone and a Horn

  • Recording A Great Sax or Solo Trumpet
  • Recording the DJ and Turntable

Pro Tools Individual Brass and Brass Section Workshop

DAY 2 WEEK 15  PROJECT

Recording a Great Sax or Trumpet Section

  • Recording other wind instruments
  • Brass
  • Trumpet
  • Mic Placement
  • Mic techniques
  • French  Horn
  • Room and Mic Placement
  • Trombone
  • Mic placement
  • Tuba
  • Setting Recording Levels in Pro Tools for Brass
  • What’s a track sheet
  • What’s a song map
  • What are parts of an arrangement
  • Foundation
  • Rhythm
  • Pad
  • Fills
  • Lead
  • Clarinet
  • Digeridoo
  • Bagpipes

DAY 1 WEEK 16  PROJECT

Piano, Orchestra, and Choir Combined

  • Recording A Great Grand and Upright Piano
  • Recording Orchestral Percussions
  • Recording An Epic Choir

 

DAY 2 WEEK 16

Organ, Marimba, Bongos Combined

  • Recording a Jazz or Gospel  Organ
  • Recording Marimba
  • Recording Bongos

 

Pro Tools Individual String and String Section Workshop

DAY 3 WEEK 16

 

Recording Stringed Instruments

    • Violin
    • Viola
    • Cello
    • Double Bass
    • The frequencies of notes
    • Frequencies of common instruments
    • Masking, Combination Tones, and Masking
  • Violin construction affects the sound
  • Mic placement

 

    • Mic techniques for solo string instrument
    • Suggested small diaphragm condenser mics
  • Suggested large diaphragm condenser mics
    • Suggested ribbon mic
    • Recording a String Quartet
    • Recording the entire orchestra
    • Recording with Handheld Recorders for Sampling

AT THIS POINT YOU’RE ON YOUR WAY TO MUSIC PRODUCTION WORKSHOPS.

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