Upcoming Pro Tools Training

Live Online Instructor-Led Courses
PT 101/110 Weekend: May 8,9,15,16,22,23
PT 101/110 Weekday: May 11,12,13,18,19,20
PT 201/210Music Production: Jun 1,2,3,8,9,10
PT 101/110 Weekend: Jun 12,13,19,20,26,27
PT 101/110 Weekday: Jun 15,16,17,22,23,24
PT101/110 Evening: Jun 14,15,17,21,22,24,28,29
** 3-4hrs per day **6-8 Day Course
Register: 888-277-0457

Upcoming Pro Tools Training

Live Online Instructor-Led Class
PT101/110 Weekend: May 8,9,15,16,22,23
PT101/110 Weekday: May 11,12,13,18,19,20
PT201/210M Weekday: Jun 1,2,3,8,9,10
PT101/110 Weekend: Jun 12,13,19,20,26,27
PT101/110 Weekday: Jun 15,16,17,22,23,24
PT101/110 Evening: Jun14,15,17,21,22,24,28,29
** 3-4hrs per day **6-8 Day Course 
Register: 888-277-0457

How many of you want to share your studio work with other people?

As we start expanding the scope of our work, each of us will find ourselves at some point needing to share work across other DAW software or sessions such as Logic, Nuendo, Studio One, etc. There are many reasons you might share your projects, such as working with collaborators, sending your song to a mix engineer, or having to integrate your work with other material, such as a video. For whatever the reason, the transfer of information between platforms is happening at a fast and furious pace and understanding some basic procedures will make things flow a lot smoother for you.

Mihai Boloni and Kevin ElsonLet’s first look at some of the scenarios you might encounter in the course of working on a session. You have a partner or group of people you collaborate with and they are using different DAW’s in their own studio. The keyboard player might be using Logic, the drummer might be using Pro Tools, and the Singer/Guitar player is using Nuendo. You will have to put all these different pieces together in order to give them to the Mix Engineer who might be using Pro Tools. This type of thing is very common in the musical landscape. Another scenario might involve transferring material between video editing systems such as Media Composer, Final Cut Pro, Premier, back and forth to Pro Tools so you can do the Audio Post Production. Each of these situations might require a slightly different workflow, but in the end the same goal is being accomplished - sharing information across different platforms.


Being an Avid educator, the long anticipation and months spent on web gossip sites has all come to reality now regarding the new release of Avid Pro Tools 11. There are many new features in Pro Tools 11 that will be released upon us, and what a beast it is.


Steven TylerSteven Tyler to Take Part in Keynote Interview at ASCAP EXPO

WHEN: ASCAP Expo Event Los Angeles April 18th – 20th, 2013
WHERE: Loews Hollywood Hotel, Los Angeles, CA

ProMedia Training will be attending as a sponsor and exhibitor at the ASCAP 2013 event this year, so we look forward to meeting our potential students and associates there. Co-founder of ProMedia Training, David Frangioni, will plan to attend event and share some of his early stories of breaking into the music industry as a pro tools editor and engineer for Steven Tyler in the 90’s, which led to becoming an established and recognized technology expert for multiple renown recording artists.


Mike Bernard of The VoiceMichael Bernard is the Pro Tools Engineer, Music, and Sound Editor on the hit NBC TV show, "The Voice.” Join us now for this VIDEO BELOW for a one-on-one interview conducted by Mihai Boloni, Director of Expert Avid Training at ProMedia. Whether having to record and edit for over 600 songs per season, or punching in live while 12 million people are watching, the pressure is on and the workload is immense for Mike Bernard, the Band and brilliant Musical Director, Paul Mirkovich. ProMedia Training was brought in to consult and train on how to maximize this massive workflow after Paul Mirkovich wanted to maximize productivity to the fullest possible extent. The talent it takes to arrange and produce this volume of music is incredible on behalf of Paul, Michael, the crew, and the rest of the musical team.


Amongst the myriad of features relating to editing and recording is a very powerful tool known as Elastic Audio. This feature gives us the ability to treat our audio as if it were a rubber band, hence the name, Elastic Audio.


Recently, fellow Pro Tools Instructor Dan Faber and I had the pleasure of working with legendary music songwriter/ producer Mark Hudson (Aerosmith, Celine Dion, Ringo Starr, Ozzy, Cher) on a truly wonderful and challenging recording session at Studio Center Miami. Within a few days, we had over 26 guitar tracks and 20 background vocal tracks alone; we were soon at 116 tracks!


bvg12In this article, we will demonstrate and specifically show you several specific examples of how to produce and arrange background vocals in a modern pop song. In today’s musical landscape, we are witnessing one of the most eclectic and diverse array of songs to ever be on the charts at the same time. As of January 20th, 2013, we have artists such as Pink, Bruno Mars, Maroon 5, Alicia Keys, Rihanna, A$AP Rocky, etc… and that’s just in the Billboard top 20. While there might be differences in the “genre,” there are a few fundamental musical components that each one of these songs have in common: Rhythm, Melody, and Harmony, the three fundamental components of modern music. While Rhythm and Melody usually get all the glory, Harmony, specifically in the role of Background Vocals, can take an ordinary song and turn it into an anthem. Background Vocals can enhance the listener’s experience in a way the Lead Vocal could never do on its’ own.

Before we get into the hot ‘n heavy, I do have to point out the creative application and placement of Background Vocals can differ based on the specific genre. In music, harmony is defined by the use of simultaneous pitches or chords and often times referred to as the “vertical” aspect of music. There is no real “right” or “wrong” way to produce background vocals, as so much is dependent on the production style and taste involved; however, in listening to any modern song on the charts, you can quickly pick up that there is a lot going on, which usually means quite a bit of work editing in Pro Tools. Luckily for us, this type of work and associated workflow is what Pro Tools does best.

Recording Background Vocals (BGV’s) is pretty straight forward as is all recording in Pro Tools- set up your microphone, create some new tracks, and viola! Grammy Time! Sound simple enough, keeping in mind that you have planned out what the background vocal lines will be and your vocal talent has rehearsed their parts. Pro Tools can’t help you with a singer that doesn’t know the lines. Once you have the creative part ready to go, it’s time to create some tracks in Pro Tools.


The art of hand-writing sheet music is becoming easier with the advances technology has made in assisting in this process. In this article, we'll discuss some basic techniques for using the "Score Editor" in Pro Tools to arrange and print sheet music with proper notation that musicians can easily read. There are a few guidelines that are very important to understand first for the process to initiate properly. First, you must know the key of the song that you are intending to score. It is also important to know the key of the instrument you are printing for, as many instruments are tuned to different keys. Most trained musicians can still translate even if you print in "Concert C"; but it is most appropriate if their parts are transposed to the key of their unique instrument.

Setting the Key in Pro Tools


  1. From the Key Ruler, either click the "+" from the side column of the rulers view, or right-click on the ruler at a point at which you would like to add a key change. It is possible to add key changes throughout the session, and transpose MIDI data accordingly, but that is a topic for another day. Right now, let's just get the key of the song inserted at the beginning of the session.


Before we begin, we created a session that you can download and listen to after you read this article, and use as a template for other songs. This template can assist you in creating SideChain Compression in your own mixes. You will find this link at the bottom of this article.

Compression is a very commonly used technique in Hit Dance Music for making various instruments within a song swell up and down. They usually swell down when a kick drum, or beat hits, and back up in between the space between hits. I’ve created a session that you can download and use to listen to, and use as a template for other songs, if you like. This a quite simple process that will go a long way in dance music, so buckle your seatbelts and keep your hands and feet in the car throughout the duration of the ride. Here we go! And if you like what you see below, feel free to join me for a hands-on Pro tools class in person at ProMedia Training.

First, I created an instrument track,


And then inserted Boom on it:


I’m going to use it as a trigger, or sidechain, for the other tracks that need to swell or pump. By programming a quarter note bass drum pattern, also known as “four on the floor” to musicians, this will be the source of the other tracks to swell between. Here’s how I did it. You can follow along, or download the session, which is already done.


Who We Are

ProMedia Training is the premier authorized Avid Pro School since 2002, having certified more students in Pro Tools than any other organization, preparing them for a Pro Tools career in audio engineering, recording, mixing and related multimedia training for musicians, producers, recording engineers, worship facilities and corporations. ProMedia has been leading the way in short term, Pro Tools Immersion courses which focus in all areas from beginner to advanced Pro Tools Applications.  Our beginners learn the software for music production, recording, editing, audio engineering, and mixing. Our advanced users focus on cutting edge highly complex HDX systems, new concepts as well as workflow improvements. We also provide on-site training for corporations, Universities, Schools, and worship facilities where professionals can advance their skills while learning in their own working environment. ProMedia also participates in many of the musical associations and related organizations related to the recording arts including ASCAP, BMI, NAMM, TAXI A&R, Youth Organizations, NAB, Promo Only, and more.

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