Location: optional. Example: "Emeryville, CA". Email address: optional. Review Guidelines Explain exactly why you liked or disliked the product. Do you like the artist? Is the transcription accurate? Is it a good teaching tool? Nathan Adam , Brady Barnett. Learn how a real professional uses Pro Tools to make multi-platinum records with this jam-packed, fast-paced guide. Including over color illustrations, Multi-Platinum Pro Tools takes you inside the minds of one of the top Pro Tools engineers in the business, giving you the skills you need to succeed. Using the interactive DVD featuring a real Nashville recording session you watch, listen, learn and edit alongside Multi-Platinum and Gold record engineer Brady Barnett in a real Pro Tools editing session!
Whether it is the simple Pro Tools-generated click sounds which are not recommended, as they tend to be real vibe killers or a loop that has been time stretched to fit the Pro Tools session tempo, the time it will save you when editing is incalculable. In a Nashville recording session, this usually involves the engineer sending MIDI timecode from Pro Tools so it follows the session tempo. However you do it, only if the session is recorded to the Pro Tools click will you be able to effectively use Grid mode, so whatever it takes to get there is worth it.
Moving along at the speed of light, we can summarize the Zoom tool with four simple words. While you could consider that five words with a contraction, I think you get my drift. This method will always zoom in and out using your timeline cursor as its center point, which is a major time saver while editing. While watching the Multi Platinum Pro Tools DVD, you will often hear a flurry of keyboard strokes as I zoom down on a note to make a quick edit or tune a note. This is Cmd-[ ], every time. This is useful when editing tracks that might not have been recorded at a sufficient level, or if you need to increase the relative size of the waveform to see difficult edits that need to be made.
Option-Cmd-[or] will let you see everything you need to see. Take the same waveform that we just zoomed in on horizontally. Notice that vertically speaking the drummer has not yet really kicked the volume up and the waveform is pretty small. Now, if we wanted to edit the top note we might have a difficult time, so we want to increase the waveform size or zoom vertically.
A quick stroke of the shortcut keys should yield a result that looks like Figure 2. If you consider a horizontal zoom in the same fashion, it appears that the waveform is getting longer the more you zoom in, but in fact you are just viewing it more closely. If you have placed your cursor on a particular track, it will just affect that track.
Larger track heights are more useful for editing. This is done with a combination of a preference and a shortcut key. To demonstrate, select any of the little shaker hits on the shaker track that you want to take a closer look at. No worries, we can easily reset it to allow a few other reference tracks to still fit into our screen.
This is good. Now, obviously you can zoom in and out of Zoom Toggle by using its shortcut repeatedly, but what about when you find yourself zoomed way in on a particular track, and all of your tracks are at different heights and sizes. To do this, we will combine one click and two shortcuts. First, using your Selector tool, click in the timeline rulers directly above your audio tracks.
This will place the timeline insertion selector across all tracks in the project. Finally, utilize your OptionA command to zoom out to view the entire session on the timeline. Check out Figures 2. In a few quick keystrokes you have gone from deep under water to soaring high over your session, and the timeline is still right where you left off editing, so you can quickly zoom in again once your mind is right. Check out more on the DVD for some more zooming tips and tricks! We need to get back to a quick overview of the whole song. Keyboard shortcuts are great.
They really are. And Pro Tools, as with all DAWs, has a shortcut key for just about everything you will do on a regular basis. For beginning engineers, one of the quickest ways to make yourself, well, quick, is to open up the Keyboard Shortcuts PDF under the Help menu and force yourself into an old-fashioned woodshedding mode. Thereafter, every time you find yourself using the mouse to do something you feel may be accessible with a shortcut, take 5 minutes and see if you can find it in the documentation. Introduced several versions ago, the Smart tool is a context-sensitive tool that changes depending on where our cursor is positioned over the waveform.
Over the top half of a region it will become the Selector tool. Over the bottom it becomes the Grabber. On an edge it becomes the Fade, Trim, or Crossfade tool when hovered over the top, center, and bottom respectively. See the figures below for views of each one. Finally, we will regularly be turning our groups on and off to check individual tracks or to edit all of a group together like the drums, for example.
You ready? Figure 3. Check him out at www. Depending on the session, sometimes we may start with pocketing percussion elements first, but in this particular case, the drums need to be pocketed against the loop they were recorded against, before we work our way up through the bass, rhythmic, and melodic instruments.
On the night this was recorded, rather than using a metronomic click track, we chose to use a loop track that was aligned to the Pro Tools tempo.
It feels so much better to record to a great loop than to a bleeping click track, and your performances will be light years ahead when you utilize it. Our shaker track also came via Stylus. Beyond these initial loop percussion elements, this track comes complete with drums, electric bass, some vocals, as well as electric and acoustic guitars. Importing tracks When you are working through a modern major-label multitrack production, while the initial tracks may still be recorded with a group of musicians located in a room, the process of overdubbing has grown well beyond these boundaries.
This new guitar track is then imported into the original session, along with all of its punch-ins, alternate takes, and metadata that the producer may be looking to use. If you already know about inporting tracks and want to skip ahead, jump to page In this case, the artist played all his own acoustic guitars, but we recorded them in a different session. We dragged the scrollbar down to the bottom of the list and imported the Acoustic. TK4 track to a New Track. You may find that when it imports the track it makes it hidden by default.
TK4 track is italicized in this window, and the track itself is grayed out. This indicates that the track has been made inactive, so obviously we need to reactivate it. Activating the track Since you may be using an older version of Pro Tools, in version 7 Digidesign made some pretty radical changes to the menu structures inside the software.
Many functions that relate to individual tracks were previously found under the File menu. In version 7 they have been relocated to have their own new menu called, appropriately, the Track menu. I currently spend most of my time editing tracks that I have been involved with since the initial pre-production meetings, all the way through the tracking and overdubs.
What to view and how to view it: Cleaning up the Edit window For any pocketing session I have a motto about what to view and how to view it. Start by selecting both the scratch vocal track and acoustic track, and selecting Make Inactive from the Track menu. This will free up some system resources for those on slower machines, as well as just getting them out of our hair.
This brush snare was played by the drummer after the fact. Give it a listen real quick, and you may find you want to keep it in the mix for now. You are the weakest link. Start by soloing and turning up the loop and the shaker tracks, since those were what we originally tracked the drums to, rather than a click. A percussion element? The loop? Another instrument? Finding a visual guide track To that end, the shaker will probably not be our best friend in this particular track. For example, zoom in on the shaker transient located about bar 20, beat 4.
The transient of a shaker is really long and undefined, making it very difficult to determine exactly where any kind of attack happens, let alone where the start and end of the beat is. Our best bet is going to be to use the hi-hat-based loop track, with a little bit of vertical zoom to accentuate the transients of each hit. For a visual go to the loop transient right above your shaker, and use your vertical waveform shortcut to beef it up. We should now just be viewing our drums and our loop. Make sure your drum group is enabled, and temporarily set your drum track height to small.
Engaging your drum group and viewing them all on the 81 multi platinum pro tools Editing within a drum group We engaged the drum group so that every edit we make to any track on the kit will be applied to all members of the kit. If we just tried to edit the kick, snare, or any other member of the kit by themselves, the track would quickly fall apart because the sound of each drum is going to bleed into every other track of the kit as well.
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So, if we pocketed any of the tracks individually, say the snare track, you would hear both the new, tight, pocketed snare, and the now out-of-time bleed of the snare track in the overheads, tom, and hat tracks. Now that we know every edit we make to any of the drum tracks will be carried across to all drum tracks, we really only need to view the tracks with the biggest transients for pocketing against our loop. This is going to be our kick and our snare tracks. I tend to use at least two snare mics, and as a result like to put the microphone used as well as the final take we end up using in the track name.
I named the tracks in your session a little more plainly for any Pro Tools newcomers following along.
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The reasoning is simple. Go ahead and undo your way out of that mistake. This will give you a view that lets you see the loop with the kick above and snare below. Moving the loop between the kick 85 multi platinum pro tools Figure 3. Now with your drums grouped, this arrangement will allow us to edit our drums by selecting and editing in either the kick or the snare track, and our edits will of course be made to all of our drum tracks.
At the times where there is no kick present, we will be using the snare drum for comparing to the loop transient. By having the loop track in between them, we can easily and visually compare either the kick or the snare track to the adjacent loop track, without having to visually skip over another track in the process. Notice that if we want to compare the snare transients with the loop, we have to try to look over the kick track. I tend to use the drum track which has the next largest transient, which is often the hi-hat. I rarely use the bottom snare because it is often farther away from the snare than the top mic is.
Ninety-five percent of the time we will be using just the kick and snare though, but go ahead and drag your hat track up beneath your top snare track to use as a backup. Excess noise cleanup To begin to pocket, I like to just clean up my tracks by eliminating any excess bits of noise or fooling around. Anything before these tracks can almost definitely go. This needs to go. This leaves us with a few options. Separating the good from the bad with the Separate Regions Figure 3.
You never know when you might need that countoff again. Zoom in a little closer if you need to. Be sure to not let the fade go long over the actual transient of the snare or you will dull down that initial strike, which will bring down the energy of the song. Pocketing our first note When you sit down to pocket a track you need to decide exactly what part of the transient you are going to define as the downbeat of your drums. Kick drums can have all kinds of different shapes and styles to their transients. So if we define Figure 3. While we may or may not ultimately leave this loop in the mix, putting the drums just a few milliseconds back will help our track to feel a bit more relaxed, with a bit more vibe.
If you need to, zoom out for a minute to get your bearings and find the next major transient. Moving on: A drum pocketing system Now to start the repetition. Check it out. Separate the regions. Now use your Trim tool to trim the edge of the snare region back away from the transient just a bit. And finally, hover your cursor between the two regions to create a small crossfade to clean up your edit. Be sure to not crossfade over any part of the transient! Now, repeat that process until the drum track is finished and voila! There are a lot of special cases that require unique handling to make a good pocket.
Such is the occasional problem with loops. In this case, there actually is the barest hint of a loopy hi-hat sort of transient that begins right about where the cursor is above. We just need to see it better. To do this, go back to your old vertical zoom shortcut to magnify all the waveforms so you can see well enough to pocket the note. Now you can grab the kick, move it back, and pocket it just a few milliseconds behind the loop.
Set it back just a few milliseconds to maintain the vibe of the song. Double transients in drum pocketing and how to deal with them You may have noticed the problem if you jumped ahead and tried to do the crossfade. Shame on you. For those of you still following along, the problem we run into is this. There are a couple of ways to handle this. Occasionally, we can just drag the edit back a little earlier in time and drop in a crossfade before the double transient would occur, like in Figure 3. The problem with this workaround is that the audio to the immediate left and right of the crossfade is the same piece of audio!
Often, if you try to get away with an edit like this, you will actually hear that repeat in the audio. This is, as we say in horribly mangled Spanish, no bueno. From my experience, each has its own strengths and weaknesses. If the default Digi TCE is your only option, have no fear. Looking back at our double transient problem, we need to fill in that hole left by our pocket.
Hit the Option tab command to have Pro Tools jump to the previous edit on the drum tracks, and you will see the small crossfade we put on the beginning of that snare hit, and all the grouped drum tracks. Think about it. If we time-stretch the entire region from this point to the next kick transient, all of the notes in that region will slow down quite audibly.
If we prevent stretching just the front transients of our waveforms, it will help in making the parts we do stretch sound natural. Now, assuming you have your Tab to Transients feature still turned on, tab back down to our next edit point with the double kick transient. Check out Figure 3. Just one more step to make it sound right! Now switch back over to the standard Trim tool, and you can trim back the region to before the correctly pocketed transient.
Drop in a crossfade, then Option tab back to the splice you made right after the initial attack of the previous note. Adjusting the bounds to fit your fades When you attempt this crossfade, you may get a message that says something to the affect of Pro Tools not having enough audio data to create one or more of the fades. Just tell the error message to Adjust Bounds to whatever it has enough audio data to complete, and go on your merry way.
Repeat the procedure for the next snare located around 1.
Tab to it, separate the regions, and drag it back to 3—4 milliseconds after the transient of the loop. Once you get used to chopping and moving those waveforms, it can quickly become almost robotic, and you can go for a long time while forgetting the single most important thing — listening!!!
The key to good drum editing The key, when editing by both eye and ear, is to keep what the ear hears in a higher position than what the eye sees. Make sure that you stop every couple of minutes and listen to the last few edits. Check for bumps, pops, or hiccups in the audio that need to be ironed out.
This helps keep your work in context and keep your bearings straight. Pocket it or leave it alone? Do you feel the building a song from the drums up Using Spot mode to bail out when you lose your editing perspective A quick word on bailing yourself out when you lose all perspective. When this happens and it will happen , we utilize that last mode that is so under-appreciated in Pro Tools, Spot mode. When in Spot mode, clicking on the audio will bring up a dialog box showing the current time stamp as well as the original time stamp of the selected audio.
By clicking the arrow next to the Original Time Stamp, you can place the selected audio back at the original point in time it was recorded at — like a big giant Reset button. Tab to Transients: The good and bad A few closing thoughts on editing drums. The Tab to Transients feature is often a big time saver when it comes to jumping from one edit or note to the next. Remember, we recorded these tracks to a loop, rather than a click, that already has a little bit of a feel that we liked in the first place. If you need to, refer back to Chapter 2 for the standard crossfade shape that we use for all but the edits between the time-stretched and the nontime-stretched.
For those edits, we just go with a standard, no link, linear crossfade. Experience has taught me that this is the best shape for that particular situation. Go ahead and work your way through the remainder of the drum tracks, and be sure to follow along in your own session with the accompanying DVD for some more great visual examples of pocketing drums! As you continue to hone your editing skills you will find that you are able to maintain your sense of the song with greater ease and for longer periods of time, but initially it can really be overwhelming.
This is a valuable skill that is quickly being lost as people are coming out of recording schools by the thousands every year. The ability to zoom in on, cut, and move a waveform around can be learned by monkeys in a zoo, but the ability to make essential judgment calls about the quality of a performance or the musicality of your editing choices is still, at this point, uniquely human. Make sure your track still has that humanity, groove, and the all important vibe. To do this, select all of your drum tracks from the first downbeat to the end of the song.
You can obviously accomplish this in a variety of ways, but the easiest is to just tripleclick on any of the million drum regions with the Selector tool. Triple-click with the Selector to select all of the grouped drum Now choose Consolidate under the newly revised Edit menu to render all of your edited tracks down to individual drum regions.
First, select the drum tracks so they are all highlighted, as in Figure 3. Next, go to the New playlist option under the Playlist Selector button next to any of the track names. A small padlock will appear on every region, allowing you to hear it in the track, but not edit it without first unlocking the region.
This will let us know that this session has a complete set of pocketed drums inside, so that even if we somehow mess up our drums during a later part of our edit, mix, or whatever, we can always get back to reimporting the locked, Master pocketed drums from this session. Attempting to do anything will result in a Pro Tools no-no message.
The typical method for doing percussion overdubs to is save an alternate session and send it off on a hard drive to a professional percussionist, who lays down some amazing and creative tracks. As a result, our first step was to find those sessions and import the percussion tracks into our working edit. Figure 4. If you currently have a track with the exact same name in the new session, Pro Tools HD will allow you to overwrite the existing track in your session with the track from the importee session. Pro Tools LE, unfortunately, will not. Copy from source media would be the choice if we were importing tracks from another physical hard drive or backup DVD, and we wanted to make sure those tracks were copied to our own Audio Files folder, rather than attempting to play back from the other drive.
In this situation, though, since we are just working from one hard drive with all of our audio files and tracks contained within one folder, we will just leave the choice on Link to source media. Obviously, this is because the night he recorded the brush part he was playing to his own groove based on the drums, which, ta dah, we just changed in the previous chapter! Not good. Beat Detective Beat Detective is a helpful little application inside of Pro Tools that works well for a variety of types of groove-based instrument editing.
You can think of it as basically a MIDI quantizer, but for audio. If the downbeat of your selection accidentally gets pocketed an eighth note late, the rest of your track gets pocketed against that late note as well. At least until it gets halfway through the track and also pockets another beat an eighth note off — now all of the beats after that are a quarter note off.
By the end of your track it gets to a beat or two off, and you then have to go back through the entire track trying to figure out where it got off track, and then set things straight — what a pain. Even then, you tend to spend so much time cleaning up all of the missed transients and bad edit choices it makes that it is often more time-consuming than simply pocketing the song by hand, which produces more musical results anyway in my humble opinion. It may help the subtle problems, but will cause some parts to be worse off than they started.
On TDM and HD systems and the newly released Music Production Toolkit upgrade for Pro Tools LE , Beat Detective is a multitrack groove editing tool that will allow you to analyze, chop up, apply a groove template, and clean up multiple tracks of audio simultaneously, like a drum kit, for example. While some may view this as a disadvantage, I find it really almost works better on the whole for tweaking single tracks like this mono percussive brush track, and can really be a valuable time saver as a result.
Setting up for a good beat detection To start off, switch over to Grid mode and change your counter method to Bars:Beats. Also, set your grid resolution to quarter notes. This is really helpful for any application of Beat Detective. For whatever reason, giving it a smaller chunk of time to deal with helps it improve its detection accuracy.
Now switch to the Bar Beat Marker Generation button and you should see a bunch of marker lines filling your audio selection. Once the audio is analyzed your Sensitivity bar will become active again, and you need to slowly drag it to the right until you see the marker bars starting to mark out the transients of your audio selection.
You want to turn the Sensitivity up until it marks out every one, or nearly every one, of the audio transients. Keep turning it up until it gets the majority of them. Just to be sure, zoom in a bit closer to make sure all of the transients have one, and only one, trigger marked. This looks good. Note the Separate button that appears in the lower left corner of the window. Click Separate to have Beat Detective create edits at all of the previously created trigger points.
Zooming back in now will show you that it has inserted edits at all of the trigger points, creating a plethora of new regions, each with their own unique region name. Now we move on to the Region Conform button. If you have done any kind of MIDI quantizing at all, you should feel immediately comfortable with the options that now show at the right of the Beat Detective window. When you click Conform, you should see the selected regions move just a bit. After conforming the regions. Notice they slid a little earlier At this point there is nothing to do but hit Play and see how the Beat Detected brush track fits in with the drums.
Did we improve things? Keeping your frame of reference: Did you improve the track? If you need a frame of reference, hit your Undo command to quickly toggle back to the pre-beat detected brush track for comparison. Then, just choose Redo under the Edit menu to go back to the new track. I like to toggle between these repeatedly to compare my previous and existing tracks. Sure enough, the un-Beat Detectived to create a new word track starts to get late after a few bars in.
Edit smoothing and filling gaps: The right choice Notice the huge gaps, holes, and complete lack of crossfades between nearly all of my slices of audio. If we were to solo this track, those would definitely be audible and add a number of clicks and pops to my tracks. If we just choose to fill in the gaps created by Beat Detective, Pro Tools just automatically trims the audio back from the second region to fill in the gaps created. Obviously, the Fill And Crossfade option will do something similar, except it allows us to determine the length of the crossfade that it will automatically put at each edit point it creates.
Choose Fill And Crossfade, click Smooth, then solo and listen back to just the brush track to critically listen to the edits. This brush track is at best going to be a secondary percussion element that is only a small part of a greater drum track. And so Beat Detective has saved us from ourselves in this small situation. For example, if I was going to go through and pocket this track manually, note by note for the entire chorus, it probably could have taken 30—45 minutes.
With Beat Detective we were able to do it in 5 minutes and save ourselves a pretty substantial amount of time. If this were a brush track that ran intro to outro throughout the entire song, Beat Detective would allow us to pocket the track in 10—12 minutes, rather than the couple of hours it could take to do it by hand. Very nice indeed. To really put it all in context, go ahead and solo your loop back in along with the drums and give it a play through with your brush track volume turned up just a bit for posterity and critical listening purposes.
Special cases in Beat Detective and how to address them Fantastic! When zoomed in tight on a waveform and trigger, notice that Beat Detective puts its trigger right at the front of what it perceives as the transient, right at the front of the attack, when the Trigger Pad option is set to 0 ms. The Trigger Pad option Now, if we set our Trigger Pad option to say, 10 ms, and choose Separate, note that it puts our actual edit 10 ms before what it perceives to be the actual trigger time.
What can often happen is that when it moves notes later in time, and then goes back with a Fill Gaps or Fill And Crossfade, similar to what we saw when editing the drums, it can overlap two of the same fronts of a beat in the middle of a crossfade, resulting in an audible bump in the sound.
Turning on 5—10 ms of Trigger Pad helps prevent this. Give the chapter on drums another read for more on this topic. Hit the Separate button, switch to the Region Conform tab, and choose Conform. Sure enough, Beat Detective moved our entire set of selected regions earlier by several beats. Go ahead and undo. Once you undo, take a peek over at the Start Bar and End Bar options. If you hit the Capture Selection button now, you will see that somehow we got our start and end times screwed up in Beat Detective, because we neglected to capture our selection at the appropriate time.
This is just a little heads up for any sort of warning message that may come at you in Pro Tools. When it comes to Beat Detective and your selected audio, it can seriously throw things out of whack if either of your start or end times is off. What you should take away from this error is that while Beat Detective can be a great time saver, as we have already seen, it can also leave you wondering — why the heck did it do that?
My rule of thumb is that if I choose using beat detective Conform and see Beat Detective move the audio any more than just a minor, minor shift, something has likely gone wrong. A quick Beat Detective recap So, to catch back up to where we should be: 1 Undo to the unedited audio, 2 choose Capture Selection, 3 hit the Analyze button, 4 adjust your Sensitivity and your Analysis to High Emphasis, 5 switch to Region Separation, 6 hit Separate, 7 switch to Region Conform, 8 hit Conform.
Notice there is no dramatic shift of the selected audio in time. Time to smooth out those Still being adventurous, choose the Fill And Crossfade command and set a Crossfade Length of 5 milliseconds. Boy howdy, are we walking on the wild side or what? Hitting Smooth will give you a progress bar while we anxiously await to see whether it works or not. Do we dare to hope? At this point, we could either move forward assuming that Beat Detective has performed a proper edit and perfectly aligned everything to an even grid, or not. Personally, I trust my ears and your ears over the programmed ears of an oft flakey program — so I say go ahead and give it a listen to make sure it feels good and is in the proper time.
Also solo the drums and make sure the loop track is muted. Setting a two-bar Fixing clashes between Beat Detective and the master drum take Around bar 57, beats 2 and 3, the drummer gets a little funky on the snare and it initially sounds like it may clash with our brush track. This Pro Tools session was recorded at the multi platinum pro tools ironically default tempo of bpm.
Check out Figure 4. The solution? This should end up being a few milliseconds worth of nudging to get your brush track looking like Figure 4. All of your percussion elements should be made to find themselves slightly behind your drums. If they were pocketed right by Beat Detective and you made sure they fit the track already, this should just be a matter of nudging them all at once from being on top of the beat to being slid in just behind the drums for a sweet, tasty, laid-back vibe. Now go back and listen to the part again.
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Notice that just nudging our brush track in behind the drums rather than on top of them has both made the track feel a lot better, and it has minimized that timing clash with the snare at bar Drop in a crossfade and move on to the next note. That cleans that one up! Notice that the next hit also needs pocketing behind the drums. No problem. Just select the fade at the end of it and delete the fade. Then, select this brush hit itself and nudge it into place. Trim the front and back to where they need to be and crossfade in and out of it.
Simple as that. If I wish to have more control over the types of fades used over a broad cross-section of edits like when we have just beat detected a large brush track region, for example , rather than Edit Smoothing with the Fill And Crossfade command, I can just use the Fill Gaps command and then execute a Batch Fade command across the whole selection. Setting up for a quick Beat Detective and batch crossfade with multi platinum pro tools Now we open up Beat Detective, Capture Selection, Analyze, Region Separation, Separate, Region Conform, Conform, Edit Smoothing, Fill Gaps, Smooth — leaving us with a million little regions that we want to put another million fades across, without doing them one at a time.
Our third beat detected brush region, waiting for a Batch Fade Figure 4. Note the Placement and Operation options. In addition, under the Operation options we can tell the dialog box to adjust any existing fades that may already be found in our selection of edits, whether to create new fades, etc.
I tend to just leave all of these checked. Using the Pre-splice option to avoid double transients When you choose Centered, Pro Tools will create the crossfade centered directly around your edit point, just like it does when using the standard Crossfade tool. As we can see if we try this around 2, this can lead to a double transient on occasion when the later region has had to be moved to the later in time by a significant amount.
Pre-splice, on the other hand, will set the end of your crossfade to the location of your edit point, rather than the center — thus avoiding a dreaded double transient in the audio, and continuing to save valuable time. To reiterate, the whole point of using Beat Detective is to save you time. Pocketing an entire brush track like this by hand could take you upwards of an hour and a half.
Since our whole Pro Tools track was recorded to a click anyway, to absolutely save the most time and still get the benefits of a low-in-the-mix, pocketed brush track, we could just manually pocket the first two bars of the brush, and then duplicate or repeat it as necessary throughout the song.
This would be done by going back into Grid mode, setting your grid amount to one bar, and selecting the first two bars of the manually pocketed brush track. Setting your Grid to 1 bar and selecting two bars of pocketed multi platinum pro tools a b Figure 4. In addition, once your drums are pocketed against this grid, it just becomes easier and easier as we work our way through the instrument chain to create a tighter, more polished performance and that solid feel all the major records are going for.
Bass guitar pocketing: The setup One of the key elements of every great rhythm section is the ability of the bass guitar and drummer to wed their sounds together, building a rock-solid, unyielding, rhythmic force. Historically, this has been done by keying an expander on the bass guitar channel to an output from the kick drum track.
Specifically, the kick, snare, and loop will provide our pocketing backdrop. Figure 5. We disable auto-scrolling because much of our editing will be done while tightly zoomed in near the sample level. Of course, make sure that your session is in Slip, rather than Grid, mode. Slip mode or Grid?