Archives for November 2016

This is a video with Steve Lamm talking about and breaking down Serial compression usig the serial controls in Pro Tools. He explains how to achieve smooth effects for harsh loud sounds and how to level out uneven sound (high and lows )like with vocals. To achieve this by using two or more compressors in a row. He does warn that some compressors are know to be fast and some are known to be slow so play around with this. The first compressor should be the fastest, and the second should be the slower. . He states that the best benefit is that you have more control with the volumes of the voice and or instruments. So that it fits the best to the type of music.

Key Takeaways:

• In this video, Grammy Award-winning recording engineer and Dark Horse Institute instructor, Steve Lamm, shows you how to control high-decibel levels using serial controls in Pro Tools.
• Serial compression in Pro Tools creates a smoothing affect for loud sound, which can be a challenge to achieve when you are compressing uneven material with extreme highs and lows such as vocal tracks.
• The first compressor should be in fast-attack mode to clip the loudest peaks of the signal.

“The greatest benefit of serial compression is tantamount to having two recording engineers working in conjunction with each other for control of the overall volume of the track.”

http://darkhorseinstitute.com/how-to-use-serial-compression-in-pro-tools/

The function “Elastic Audio” can be found to be very useful when correcting audio issues that may arise from instruments on mono tracks. Once you set up your time points, change the view from Analysis to Warp. Whenever Pro Tools finds one of the transients this creates, it will make an analysis point at that time mark. Remember, the best tools are always our ears.

Key Takeaways:

• In Warp view you can begin to move markers around. The markers will be created on transient.
• This shortcut will not move any of the warp points, but it will create a warp marker on every analysis point. This way you don’t have to worry about creating anchors on each one.
• This feature is great for rhythmic and percussive guitars and drum loops. It will lock it to the beat easily.

“This functionality conveniently enables correction of audio issues that may arise from various instruments on mono tracks—such as keyboards, electric guitars, bass guitars or miced vocals.”

http://darkhorseinstitute.com/how-to-use-elastic-audio-in-pro-tools/

Correct microphone placement is a tough skill to master on a piano. The first thing you should do is lift the piano lid. Then you’ll want to place two microphones five or six inches above the actual strings. Next place two microphones over the piano either in X Y position or modified to your own placement.

Key Takeaways:

• Microphone placement on a piano is an important technique to master when audio recording.
• Try experimenting by placing the mics closer to the keyboard, which will accentuate the click of the hammers.
• To achieve an overall richer sound, the mic positioned over high strings should be closer to the keyboard than the mic that is positioned over the low strings, which should be near the back end of the piano.

“As always, don’t be afraid to experiment with different placements.”

http://darkhorseinstitute.com/how-to-mic-a-piano-in-stereo/