Zigzag Music Productions
THE ART OF CREATIVE SOUND

A remix…to help you familiarise yourself with Pro Tools and in particular the four elastic time algorithms available, in preparation for assessment 2.

Stage 1

Before you start importing and editing, use the main counter selector to choose min:secs:

Import (shift command I) the 24 bit stereo wav “Bombat” and choose ‘new track’ to place it at the start of a stereo audio track.

NB: If you import “Bombat” from the Workspace browser (alt semicolon), by dragging it from Workspace to the Tracks list column (on the left of the Edit screen) ‘ it will be placed on a stereo audio track automatically, but make sure that the Workspace metronome icon (conform to tempo) is not highlighted (green).

Make a cut/edit (separate region at selection) (shift E) at the first transient. (To accurately place the Selector tool (F7) at the edit point, choose Slip mode (F2).)

The Audio Zoom Out tool (first on the left), which magnifies a track’s amplitude display, is at maximum.

Here, the track size is ‘extreme’.

Select Shuffle (F1), then select the Grabber tool (F8).  Click on the unwanted region, to the left of the edit and backspace to remove it.

NB: All edits and most processes are non-destructive.  Undo (command Z) will allow a maximum of 32 stages (of undo).

Because you selected Shuffle, on removing the unwanted region, the remainder of the audio file automatically moves / shuffles to the left – in this case to the start (otherwise to the nearest region).

Now, using your musical sensibilities, work through the track, using Identify Beat (command I) to tempo map the track.

NB: For the purpose of this exercise, please just accept that the track starts with an anacrusis (upbeat) and that it’s in 4/4 with the exception of bar 33 which is in 7/8.

Having established the tempo of your first chosen region, switch the main display to Bars|Beats and create a click track for audio confirmation that the identified tempo is correct.

The track is 8:20 and needs to be mapped in it’s entirety (302 bars), although not necessarily bar by bar.

Stage 2

Make edits at the following places to create six regions of varying duration:

bar 101|1|000   2 bars

bar 154|2|000   3 beats (ie. crotchet / quarter note)

bar 162|3 |000   1 quaver (or eighth note)

bar 188|1|000   4 bars

bar 285|3|000   2 beats

bar 300|1|000   1 bar

Create a new stereo audio track, name it “edits”, and using the Grabber tool (F8) in Slip mode (F2), alt drag the six regions above to it.

NB: by alt dragging you make a copy of the region, rather than removing it from the original track.

Double click on each of the regions in ‘edits’ and name them (in upper case) A – F.

Return to the start and choose the playlist selector of ‘edits’ (ie. the triangle pull down menu selector)

and choose  ‘duplicate’

this will create a duplicated track, with all the regions in place called ‘edits.01 (2)’.  The next step will render these regions as stereo audio files, so the original ‘edit’ track (or playlist) is a backup.

Mute the orignal “Bombat” track. Select each region in turn (from A – F) using the Grabber tool (F8), press space bar to play.  Make sure the region doesn’t glitch at the start or end – make fine adjustments with the ‘standard’ Trimmer tool (F6).  Select loop playback (shift command L) and make sure the regions loop accurately.  Region C won’t loop at this stage.

Select each region and ‘consolidate region’ (shift alt 3) – this will render regions A – F as audio files.  They’ll automatically take the name of the playlist ie. ‘edit.01_01′, ‘edit.01_02′ etc. so please re-name as follows:

A cr, B cr, C cr…..etc (where cr identifies them as consolidated regions).

Stage 3

Following the instructions given in the pdf below, drag all consolidated regions (bold) or regions (not bold) from the region column (on the right of the edit window) to the tracks column (on the left of the edit window); this will automatically create a new stereo track with the region placed at the start. For all tracks to be given an elastic audio property (polyphonic, monophonic, varispeed or rhythmic), switch the timebase selector from ‘samples’ to ‘tick based’ to ensure that the region follows the established conductor track.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Now, systematically follow the instructions in this pdf.

remix detail – March 2011

The pdf above, details every aspect of putting together this remix.  However, it doesn’t include details of all plug-in parameters inserted on the master fader, stereo aux inputs or stereo tracks;  for that, I’ve attached screen snap-shots and a Pro Tools snap-shot of the mix screen.  All plug-ins are ‘multichannel RTAS’, despite the TDM HD2 system we have.  This is done with straightforward transfer to LE systems in mind.

I suggest that having captured all 6 regions and converted them to consolidated regions, you first ‘place’ them and edit (treat) them as instructed.  Once you have the structure in place, start applying the automation, which I’ll give further information on in stage 4.

Regarding the tempo curve from bars 47 – 63, use this screen shot to help you achieve the intended flanging effect.  This effect (a re-creation of the original analogue flange which used x 2 analogue reel-reel machines which were deliberately caused to run at slightly different and variable speeds) is created by the interplay between a file with an elastic audio property (varispeed) and one without, specifically, here, where the varispeed audio file (D cr vari) reacts to the conductor track’s tempo change (slowing and dropping in pitch) while its ‘clone’  (with no elastic audio property) ‘ignores’ the tempo change.

Stereo Master Fader – Insert – MAXIM

Stereo Aux Input – D-VERB

Stereo Aux Input – AIR NON-LINEAR REVERB

Stereo Aux Input – AIR REVERB

Stereo Aux Input – AIR FREQUENCY SHIFTER

Stereo Aux Input – AIR DYNAMIC DELAY

Now follow – the plug-in inserts for stereo tracks:

stereo track – F cr – air stereo width

stereo track – E cr poly- air stereo width

stereo track – C cr rhyt – air dynamic delay

stereo track – D cr poly – air stereo width

stereo track – B cr poly 1 – air stereo width

stereo track – B cr poly 2 – air stereo width

stereo track – D cr vari – EQ3 1-band

Stage 4

Your Pro Tools mix screen should now look something like this:

You’ll need to prepare for automation, the following parameters on these tracks:

F cr – air stereo width - PAN

E cr poly – air stereo width - PAN

D cr poly – air stereo width - PAN

The simple way to enable any plug-in parameter for automation is to hold down the three keys – control, option (alt) and command, then click on the parameter you need to automate, for example “pan” (pan trim) in the case of Air Stereo Width

Doing this adds that parameter to the edit screen’s “Track View Selector”  pull down menu list (which normally displays ‘waveform’)

Right.  That should be enough detail to be getting on with.

Remember, digest the various approaches and treatments and at every stage imagine how you might use them in your own creative projects but especially in assessment 2.

The final thing to do is produce a 16 bit 44.1 KHz stereo interleaved wav bounce down.  Please personalise the title with your initials eg “GS bombat remix”.

Good luck.