I tend to correct phrases on the fly, so if one comes in a hair low, 1 dB increments generally do the job. This is more of a personal preference but I recommend experimenting with it. The next configuration to check is the session itself.
I prefer to record bit, That said, the difference between As low as the system goes! Mic shootouts are kind of a thing of the past. Unfortunately, sessions are really more about flow than about perfection. Or put another way, our main priority is enabling great performances, and great sound is a close second to that. It helps to do a little research on the artist ahead of time. Certain styles just give themselves away.
The converse is also true. After that, I lay out a chain that I feel confident with. It varies, and every engineer will have their own thing, but it helps just to have go-to choices that you feel work for the sounds you want to get.
I like to start with a headphone check just to make sure all of the cue feeds are the way the artist likes it. Some like loud tracks, some like loud vocals, some like loud fx, some like loud everything isolating headphones are really important. I ask the artist what fx they want and get rolling.
The name of the game is flow. This is something that takes practice and refinement. F1-F4 allow you to toggle between Slip, Shuffle, Grid, and Spot mode which is super helpful if you are rearranging instrumental tracks and doing minor vocal edits on the fly. As a default, I always keep my play button in Loop mode and then switch between Punch and Loop for recording. This covers all my bases. Track Punch is super useful because it records information before the punch point, which can be good for comping — but, not every version of Pro Tools has it.
The reason I do this is that I want the artist to be able to match their own tone as they record into the punch point. Say what you want about Pro Tools, but the editing features are very well thought out. Instant comp. The reality is this is a skill like anything else. And the more you do it, the more second nature all these key commands and best practices become. Some people like to record through Aux channels.
Feel free to copy my approach and then adjust as you see fit! Train Your Ears Become a Member. Search for:. Articles Mixing Recording Producing Mastering. Share Tweet. To keep things simple at first, we'll use a single complete audio file for the vocal track. If you've not already done it, you'll need to get Live installed and running in Rewire slave mode with Pro Tools. Installation is a simple drag-and-drop from the CD.
The first time you run the software you'll be prompted to enter your serial number. You must then unlock it, which is achieved with a single button-click if your computer is on-line. If you're studio computer is not connected to the Internet you'll need to get a 'challenge response' code from the Ableton web site.
When you're ready, follow these steps to get started: first, make sure Live is not running and launch Pro Tools. Now set the track fader to unity gain using the Option-click shortcut and launch Live. Live will detect that there is an open Rewire connection from Pro Tools and automatically open up in Rewire slave mode.
Note that the situation with Live is not the same as it is with Reason — it's not enough just to have Pro Tools running. There has to be a track with a Live Rewire plug-in inserted or Live will open with its audio engine disabled. That's the technical setup out of the way — now you can get to work! First, set your tempo in Pro Tools. You can either use Manual mode and type something in, or switch on the Conductor and create a tempo map.
Either way, you can make changes later and Live will still be able to follow. The main thing is to use a different tempo than that of your vocal clip, since that's the whole point of this exercise!
Now, switch to Live and change to the Arrange View by clicking the icon with three horizontal lines at the top right of the window. The main area of the screen shows your tracks in the traditional sequencer layout note that the version bundled with Pro Tools is limited to six tracks.
To the left is a file locator, which you should now use to locate your vocal track. When you've found it, drag it directly into the first track so that it starts at the beginning. Audio files are added to Live tracks by dragging from the browser at the left-hand side of the arrange page.
Click the small arrow icon next to the track name to see the expanded view. Now click the miniature waveform view at the bottom of the screen, and the bottom area of the screen will change to focus on the audio clip you've just dropped into the track. At this point, if you press Play, Pro Tools and Live will play back in sync, but the vocals will drift out of time.
This is because the audio file is simply being triggered and playing back at its original tempo. You need to change some settings to get the audio to be warped into the correct tempo First, in the leftmost box of settings, click the Warp button so that it lights up green.
Then, in the Warp section further to the right, enter the original tempo of the vocal track into the Orig BPM field.
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