Short Cuts For Pro Tools

 Short cut - Creates

Command S - Saves 

"                N - New track

"                M - Manually find and re-link missing tracks

"                A - Automatically finds n re-links missing tracks

"                x - Cut

"                C - Copy

"                V - Paste 

"                B - CLEAR

"                E - Select section

"                F - Fade- double click- adjusts fade styles

"                1 - Zoom to 5 - Zoom (Command click pre-sets Zoom)

E- Explosion

R- Zoom in 

T - Zoom out 

F1  Shuffle, F2 Slip, F3 SPOT,  F4 GRID

Shuffle Mode - Move a Regine snap it to next section

Slip Mode - Free to move and edit

Spot Mode - Placement of the marker -select the section, Cntrl key to bring up Spotting Sheet

Grid - Used in Music for creating a loop - editing to the time signature

Right Hand Numeric

1- Rewind

2 - Fast forward

3 - Record

4 - Loop Playback

5 - Loop Recording

6 - Quick Punch

7 - Metronome

8 -

Space Bar - Play Stop

Enter Key - Creates Marker

point-1-point - memory locator's 

Command - 5 List of Locator's 

"       - 9 Brings up video

The Yellow box on the top right is to turn on/off short-cut keys

Option Click - to duplicates sends (Ques)

Select shift option- Select tracks 

Play-list -Grab the select tool from regins + command click

Tools

Selector tool

Grabber tool

Trimmer tool 

Smart tool uses all plus fade

Read - Read the sound wave that has been automated editing
Write - Allows you to automate the track edit automation
Touch - Used for nob/eq sweeping controls- Record the fx automation on the fly
Latch -  it latches on to the last position it was left after you use touch to automate 

Lulu's notes

It has bee good learning more short cuts and using the controller at Uni. I have been using a lot of them in my own practice already but it's always good to know more.I find using the scrub tool very handy at Uni but at home I'm still using the mouse in my own practice.   

EQUALISATION

EQUALISATION

Terminology

• ATTENUATE: to reduce the signal level.

• PEAKING FILTER: a filter which boosts a specific band of frequencies.

• BAND: a single filter within an equaliser.

• BANDWIDTH: a measure of the width of the frequency range altered by a peaking filter.

• BOOST: to increase a signal's level using a filter.

• CENTRE FREQUENCY: the frequency at which a peaking filter applies maximum gain.

• CUT: to reduce a signal's level using a filter.

• CUTOFF FREQUENCY: the frequency at which a high-pass or low-pass filter has attenuated the signal by 3dB.

• EQUALISER: audio processor which uses a combination of different filters to alter the balance of frequencies in an audio signal.

• FILTER: a circuit which alters the level of a limited range of frequencies.

• FILTER SLOPE: the gain change per octave of a high-pass or low-pass filter.

• GAIN: the amount by which a filter circuit alters a signal. Can be positive ('boost') or negative ('cut' or 'attenuation').

• GRAPHIC EQUALISER: an equaliser which uses a large number of regularly spaced, fixed-frequency filters, each with an individual gain fader.

• HEADROOM: a measure of the maximum signal level that a given equaliser's circuitry can handle.

• HIGH PASS FILTER: a filter which progressively attenuates frequencies below a certain frequency.

• LOW PASS FILTER (LPF): a filter which progressively attenuates frequencies above a certain frequency.

• OCTAVE: a doubling of the frequency.

• PARAMETRIC EQUALISER: an equaliser with at least one swept peaking filter with bandwidth control.

• Q VALUE: a measure of the width of the frequency range altered by a peaking filter.

• RESONANCE: another term for Q value.

• SEMIPARAMETRIC EQUALISER: an equaliser with at least one swept peaking filter.

• SHELVING FILTER: a filter designed to alter the level of all signals beyond a certain frequency by a user-definable amount.

• SWEPT FILTER: any filter which allows the user control over its characteristic frequency.

• THIRD-OCTAVE: a regular spacing of the filters in a graphic equaliser, where one filter occurs every third of an octave.

 

Bandwidth Q Quality

Frequency

Filter

Hertz

Wave Length

Pitch-

Gain

Guitar/Vocals

Fundamental Frequency 200Hz

Notes 
Good to remember when you come to Eqing the vocals to take around 200Hz  out of the mix. Or find the resonance frequency of the vocal and Eq space out of the mix to add space and make the vocals stand out and be clear.

Notes

Mixing with reverb- Eq to take the heaviness out of the track!!! 
This is something I would always forget in my mixes. I have mixed my Lacuna Water track like this to experiment with tight Eqing. 

Space in the Mix

1. EQ

2 PAN

3.Level

Attenuation -refers to the reduction of a signal level, either by manually adjusting gain (with a variable or fixed resistor), or by use of a digital plug-in to reduce gain for you. Attenuation can also refer to using a pad (or "attenuator") on a hot audio signal as to not overload the input stage of a mixer or recorder.

Lulu's notes 
I feel it's good to go over  the terminology of Eqing and refresh the mind about space and Eqing and how you need to be brutal about your mix to make it clears and not muddy.

Surround Sound History

1894 The Kinetaphone 

(Developed by -Military - Communication)

Invented by: Thomas Edison

- Edison company experimented with this machine.

The Edison Company is known to have experimented with this as early as the fall of 1894 under the supervision of W. K. L.

W.K.L Dickson Invented- The "Dickson Experimental Sound Film"

Looks Like

- Projector with Gramma phone horn(pickup)

 (A pullie linking them together )- 

1913, a different version of the Kinetaphone was introduced to the public.

 The sound was made to synchronize with a motion picture projected onto a screen. A celluloid cylinder record measuring 5 1/2" in diameter was used for the phonograph. 

Beginning Of Sound

1- Live Piano Music - Charlie Chaplin 

1926 - Don Juan - Music Only- No Dialogue

1927 - The Jazz Singer - 1st synchronize Film -Vinyl recording  

Famous Line "Wait A Minute" You ain't heard nothing yet"   

 

The term Sound-on-disc refers to a class of sound film processes using a phonograph or other disc to record or playback sound in sync with a motion picture. Early sound-on-disc systems used a mechanical interlock with the film projector, while more recent systems use timecode.

Note- So it a term for the name of the sound/film process which they created through different inventions of syncing sound to film . 

Sound-on-disc processes:

The Vitaphone

• Vitaphone introduced by Warner Brothers in 1926

First "SOUND ON DISC" Technology used to bring audio/dialogue to film

Developed by Bell Labs and Western Electric Sounds

(The recording was added after the filming ADR)

• Phono-Kinema short-lived system invented by Orlando Kellum in 1921
• Digital Theater Sound
• early systems with the film projector linked to a phonograph, developed by Thomas Edison (Kinetaphone, Kinetaphonograph), Selig Polyscope, French companies such as Gaumont (Chronomegaphone and Chronophone) and Pathé, and British systems.

 1930'S Experimented with Centre Speaker L C R 

CON OPT -OPTICAL SOUNDTRACKS -COMPOSITE OPTICAL

ACADEMY OF MOTIONS PICTURES 

ARTS AND SCIENCE (AMPAS)

They created a new film standard

AUDIO ADDED TO THE FILM Strip (35mil)- FREQUENCY AND AMPLITUDE 

 Note- so it's on the left side of the film strip

2 TYPES OF "SOUND ON FILM"

-OPTICAL - 1930 Stereo - 2 channels on left side of strip 35 mil

- MAGNETIC- 1950's 6 Channels  TOD A.O (70 mil) larger. BOTH SIDES OF THE FILM STRIP!

(today they use this format in IMAX )

OPTICAL FILM- the magnetic strip they use today for showing films. 


1. Variable Area Sound Track
2 Variable density  
 opacity - lighter and darker and  frequency / amplitude 
(Today we use stereo optical sound tracks )


1939- THE ACADEMY CURVE  or( The N Curve- Normal)
AMPAS - Brought it in to improve the audio quality, before 1339 there was no standard of quality.

Thet created a way to treat the sound


Flat 100Hz - 1.6 kHz down 7 db at 40 Hz, down 10 db and 5Hz down 18 db at 8 kHz

FANTASOUND 

1940'S Pre -LCRS output format 
Walt Disney - Made Surround Sound
Lee Polls Sakouski- German Developed (Soundtrack developer) 


He Developed 
- Click track
- pan pots
-simultaneous multi tracking 4 track system
- overdubbing - Orchestras 
- Control track- -level expansion (gate)

Note- This was a time where the music industry was transformed.
The movie business was the leaders in developing technology and
new and innovative ideas.
Fantasound Opened Broadway /  Circle Theatre LA
A 54 SPEAKERS ANS 4 CHANNELS SYSTEM

-Spent a massive $84,000 to set it up


(The sounds format flopped)/ to advanced for the time so it did go ahead)

1950's WIDESCREEN
 
1940'S FANTASOUND 4:3
1950'S Television 4:3
           Cinema - 16:9 Widescreen


All of the screen got twice the size 75 Foot Long

PROGRESSION OVER THE YEARS 

1 MONO

2 STEREO 

3 EXTRA CENTER CHANNEL (Only dialogue)

 designed to bring focus to the dialogue

4 Quad Sound -L C R S -Left Center Right Surround

5 7 Channel

6. Quad - Musical

7. 5.1 -7.1 Today

WALTER MURCH- Murch started editing and mixing sound with Francis Ford Coppola's The Rain People (1969). Subsequently, he worked on George Lucas's THX 1138, American Graffiti and Coppola's The Godfather before editing picture and mixing sound on Coppola's The Conversation, for which he received an Academy Award nomination in sound in 1974.

SURROUND SOUND FORMAT HISTORY-DOLBY

DOLBY SOUND 

Ray Dolby, Founder and Director Emeritus of Dolby Laboratories, Inc

DOLBY NR ANALOG

-1971 A Clockwork Orange- 1st Movie that used Dolby A NR

ON THE MAGNETIC Soundtrack of 35mm

1986

DOLBY SR (Spectral Recording) to reduce the noise

4 CHANNELS LCRS

The process was built into to he reader at the cinema

Attached to the projector

4:2:4 Matrix SYSTEM

THE AGE OF DOLBY

1975 Dolby stereo

A START WAS BORN 1ST MOVIE- get the credit

Dolby labs introduced a new sound technology for 35 mm print called Dolby Stereo

Star Wars

LCRS-.2 

.2 - 2 X SUB WOOFERS

FORMATS

1. Betta

Late 70's

2 VHS

Phillips developed it...

 1st Commercially available video recorder was introduced 1978 Model 1500

Dolby Surround 

Home Theatre

4 Channel MA

TROX

ANY 2 TRACKS COULD BE DECODED INTO SURROUND SOUNDS

Dolby Pro Logic IIx

1st and only technology to expand any any 5.1 or 6.1 7.1 

Dolby SR (ANALOG)

DOLBY SR-D Digital

Introduced 1992

 A Digital Optical Soundtrack Located between the sprocket holes on the side of the

35 mm released print 

0 and 1  Digital

5.1 Channels

L C R Ls R s

LFE - Only  used for bass frequencies only used for more impact - explosion

FX CHANNEL

0.1  Bandwith Limited 

Low Frequency CTs 

(20 -200 kHz

3 LASER DISC 

LCRS

Format AC-3 Audio Code

 Notes

AC3Filter is high quality freeware DirectShow audio decoder and processor filter used to decode audio tracks in movies (MPEG4 and DVD others). It has a priority on wide functionality and convenient settings.

Lulu's notes

I have never seen the Ac-3 Audio code but I would like to see how it works in real life.
The rest is pretty straight forward.

ADR AUTOMATED DIALOGUE REPLACEMENT Notes 18th May 2011

Notes on Recording ADR 18TH May with Bill and Tim

I recoded Tim today and I have learnt I need to be patient and really rehears with the talent. The actor need to really relax and listen to the character / rise n fall of the voice. I guess if it was your own voice your doing it would be easier then try to copy a voice/accent. 
Bill- found the timing really hard to copy and the pauses in the phrase. The accent was trick too.
I have now found it really hard to time match the words because there not on perfectly. It is taking up a lot of my time on the project.   


Note - Loop section and let it play and get the actor to
practice for a while and then record! Get the tightest take
on addition. 


Note- I was even thinking it would be good to get some room sounds 
of hollow places to add it to my project for the lab scene. 




 ADR AUTOMATED DIALOGUE REPLACEMENT (Looping old name)


Sync up ADR with on location recording


How does it differ from Music Recording
-The artist had to be able to watch the video on screen to see how they deliver the performance!

- Microphone Choice 
- Microphone distance - (close-up or far-way) 
- "      "   Position (space)
  (bass response around chest area- higher area for higher tones)

-Softer signal - More gain requires (a whisper-intimate)

-Dynamic Control- ( Dramatic scene , angry, loud )

- Duckking- Adjusting level from music to dialogue 
When mixing it is good to cheek your mix on a TV-Some time you have to make the music a little louder!




Polor Patterns of Microphones
1. Hyper or Directional Mic (very direct)good for interview, cut out surrounding sounds 35o
2. Omni Directional - figure 8 360o (good for duets, open high hats)
3. Cardio (a wider pattern then Hyper)

TERMINOLOGY IN THE STUDIO

ISD
A SATTERLITE LINK -Old format way of syncing Audio/video

TVC Television Commercial 
Talent /Actor - to make the artist comfortable