What type of audio tracks are you most likely to record in your session? Are you a solo artist looking to record your vocals and acoustic guitar? Are you recording your band and need to record a full drum kit? Let me know in the comments section below. Click here to download Pro Tools First for free. We will use the email address you provide to send you free downloadable guides, notifications of our latest blog posts, general updates and offers on our products and services.
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Learn more about Mailchimp's privacy practices here. Any tips? Hey Levi, if you can only record enable one of the two tracks at a time then it sounds like you might have both tracks set to the same input.
It doesn't matter one bit if your vinyl collection consists of just a single milk crate or if it fills several Ikea Kallax shelves and is slowly taking over your home -- we can all agree that there's just something about vinyl. Maybe it's the warm, uncompressed sound pumping through a sweet vintage system, or the feel of holding a physical piece of art in your hands while the record spins — it's a special experience that has regained much of its glory in a world dominated by digital streaming.
The problem is, records are fragile and crates full of them don't fit in your back pocket. So why not digitize them? Not only will converting your vinyl records to a digital music format preserve that rare Beatles U. Transferring your precious platters from grooves to sound waves is easier than you might think. From USB turntables and digital audio converters to the various software options and how to use them, we'll take you through all the steps you need for going digital in this article.
Sadly, there is no catch-all method for digitizing your vinyl collection, and the exact process depends on what kind of equipment you have. Some turntables come with built-in phono preamps — electronics that boost the typically low signal produced by the needle and cartridge alone before sending it to the receiver or set of powered speakers.
Turntables without preamps will rely on a receiver with a phono input or a stand-alone phono preamp, or phono stage as they're also referred to. Below is one such turntable we recommend. A popular turntable among newbies and midlevel vinyl heads, the AT-LPXUSB is outfitted with a pro-grade anti-resonance aluminum platter to seat your records, a balanced S-shaped tonearm, and variable pitch control with a quartz speed lock.
The included Audio Technica cartridge is fully capable and sounds great, but one of the best things about this deck is that it's easily upgradeable to higher-quality headshells and cartridges, too. Getting the signal from your turntable to your computer is only the first step. The second part of the process is finding the right software application to record the audio. Although there are several premium applications designed to help you rip audio from your turntable — like Pure Vinyl and Vinyl Studio — the open-source Audacity is the best choice for most users.
This freemium application may not offer dedicated tools for converting vinyl into more accessible formats, but it can still record at sampling rates up to kHz, and export the resulting audio files as either an MP3, AIFF, FLAC, or WAV for playback on a slew of popular platforms. The interface may not be polished, either, but the software works with Windows-, Mac-, and Linux-based machines. Regardless of which software you use, we recommend that you record at a minimum of 16 bits sampled at This enables you to search and audition your sound effects library without ever leaving Pro Tools , but isn't available on LE systems.
I have all my sound effects over 20, and growing! From this window I can search for a suitable sound effect, for example for the opening shot in the Session described here. Click on the magnifying glass button on the Catalog window and 'Find' row will appear towards the top of it. You can do a search in any of the fields. On my system, the sound effect details are in the 'Database Comment' field, so I enter a suitable set of keywords in this field in this case I chose 'lorry pass' , hit Enter and Pro Tools searches my catalogue of 20,plus sound effects and comes up with 19 items.
Now I can audition any of these possible candidates in two ways: clicking and holding on the 'speaker' icon for that file plays that item from the start, whereas clicking and holding anywhere in the Waveform section plays the file from that point.
Once you have identified a suitable file, you can drag it from the Catalog window across into a suitable track on the Edit window. Note that as you drag it around the Session, the video will scroll backwards and forwards, so helping you place or 'spot' the sound effect more accurately even though the region is still an 'outline'.
Once you let go, Pro Tools will then automatically import and convert the file in the background. Whilst it is doing this it shows the region in light blue. Once the conversion process is finished, this will change to a normal region with name and waveform. At this point, I rename the region with an appropriate name for the Session. Thanks to Digibase Pro I have been able to search for, audition and import a sound effect into my Pro Tools Session all without leaving Pro Tools or my seat!
With sample CDs, I would have to had to switch out of Pro Tools into a separate sound-effects database, in my case Filemaker Pro , search for an effect, get the list of 19 effects, then get up and pull the appropriate CDs from the shelves, listen to each track to decide which one was right, and finally load that into Pro Tools , and it would have been so much slower. Above: I've added a 'sync point' to the effect region at the significant point in this case, where the lorry passes the listener.
This can then be used to 'spot' the region to a timecode value. With Spot editing mode active, moving a region opens the Spot dialogue. An alternative way of placing sound effects within a Pro Tools Session is to establish the point at which you want the sound effect to play and use the Spot feature in Pro Tools to locate the effect in the correct place.
Remember you can only have one sync point per region. Now place your cursor at the point on the timeline you want to line up this sync point with in this case it's a lorry passing in the video.
Trying to drag the region will now open up the Spot window. The sync point of the region will jump spot to the timecode point you identified with the cursor, and the sound effect of the lorry should work 'in sync' with the video. You can, however, search filenames from the Workspace window, so providing your sound-effect filenames have suitable key words in them, you can search for files that way.
Failing that, use a separate database like Filemaker Pro to handle the search and then navigate your way to the correct location from within Pro Tools and drag the chosen files from the Workspace window into the Edit window. Apple's iTunes makes an excellent free ripping software package that puts each CD into a nice convenient folder for you.
When it comes to producing a foreign-language version, you have a mix of all the universal elements and all that is required is to add the dialogue and commentary elements in the desired language. In this article, I have outlined some of the basic procedures that go into the audio post-production of nearly all the TV programmes, adverts, and films you will watch.
There are also regular articles on the Digidesign web site, including an interesting one about the post-production of Doctor Who in the Users section of Digidesign's UK site. Digidesign's Digizine also has articles and a regular feature called 'Post Scripts'.
Next month I am going to concentrate on recording and mixing in surround for both music and broadcast post-production using Pro Tools.
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