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Faculty Articles

Faculty Articles (35)

Using Sidechain Routing in Pro Tools - Help Techniques

If you are looking for a simple concept that is guaranteed to improve your mixes and take your productions to the next level, look no further! In this tutorial we will discover techniques used by the world’s top mixing engineers, which are all based around a single concept so simple to understand you will be able to use it to improve your mixes immediately.

In the previous tutorial Compression and EQ Techniques for Mixing Vocals I discussed some of the standard features of the compressor, a device used to reduce the difference between the louder and quieter parts of a signal (dynamic range), now were going to dig a little deeper and learn about a circuit found in compressors called the ‘side-chain’. However in order to unlock these techniques we’re going to have to understand the signal flow first. In the simplified diagram below we can see the basic signal flow through a compressor.

A compressor is simply an amplifier that reduces the volume of anything that passes above a user defined level (known as the ‘threshold’). It is controlled by a signal passing through a part of the compressor called a ‘level sensing circuit’ (LSC), which tells the compressor how it should act. You could think of the LSC as the compressors brain!

It is important to realize that the ‘level sensing circuit’ is placed on a parallel path (known as the ‘side-chain’) to the signal that is being compressed and the signal passing through the LSC never reaches the output of the compressor, it is simply just used to control the compressor’s amplifier.




This in depth tutorial describes how to use Melodyne pitch correction including auto and manual correct methods, using the Melodyne Editor and understanding it's integration within a Pro Tools session.


The ability to correct pitch has become a necessary tool in the arsenal of any contemporary audio engineer. Without question, the most common application of pitch correction is in the manipulation of vocal performances. The lineage of these techniques can be traced back to the 'Vocoders' (Voice enCODERS) developed by Bell Laboratories in the 1920's. Originally designed as a method of encoding speech for telecommunication transmission, Vocoders became widely used in music and film production throughout the 1970's. This process of pitch manipulation transforms the human voice in a synthesized robotic tone. The Vocoder is currently seeing a resurgence in popularity due to its recent use by such artists as Coldplay and Daft Punk.


Creating A DJ Mixtape In Pro Tools

How to Create a DJ Mixtape in Pro Tools

The following tutorial discusses how to create a DJ style mix using Pro Tools. Learn about track selection, how to use “Mixed in Key” to choose tracks that are harmonically compatible, dealing with tempo changes, using the Camelot System, removing unwanted audio, elasticizing clips, importing audio, etc.

We also will discuss sequencing the mix, volume and automation techniques, creating a submaster, tape slow-down effects, limiting and dynamics. and bouncing the DJ mix. This tutorial covers most of the critical aspects to create a professional quality Mixtape!


Using Pro Tools With Logic

A Guide to DAW Synchronization Part 2 -‘All Together Now’

In this tutorial we show you how to use Pro Tools with Logic simultaneously. We will look at setting up Pro Tools and Logic to use Logic X’s audio effects on Pro Tools audio files and then we will explore triggering Logic X’s MIDI instruments via MIDI tracks in Pro Tools. In Part 1 of these tutorials we looked at synchronizing Pro Tools with both Reason and Abelton via ReWire, now in this second tutorial we will explore the options for creating a Pro Tools session that utilizes the features of Logic Pro X.


How To ReWire To Pro Tools

A Guide to DAW Synchronization using Rewire - Part 1


"All Together Now"-

This article, written by hit songwriter/ producer, educator and music technology pioneer, Jason O'Bryan, discusses how to ReWire to Pro Tools and goes into details and "how-to" steps about using ReWire with other DAW's such as Ableton, Reason, and Logic. With over 20 years of studio experience, Jason O'Bryan has worked as an Audio Engineer, Record Producer, and educator in London, Jamaica, New York, Los Angeles, and Sydney. Along the way he found the time to help found the infamous UK band 'Dub Pistols' and tour the world as a performer.

For those who need some background, ReWire is a software technology created by Propellerhead Software which allows two stand-alone audio applications to work together, allowing the program to route multiple channels of audio internally into the Pro Tools mixer.


Mixing Music For Television and Post Production

Music For Television: Step behind the console with Emmy Award winning Music Mixer Peter Baird as he discusses techniques for mixing music for Television, Broadcast, and Post Production.

As the owner of Remote West, Peter Baird has mixed MANY of your favorite TV shows including, Arsenio Hall Show, Lopez Tonight, Grammy Awards Show, Coachella, Tosh.0, Jimmy Kimmel Live, The Price Is Right, Sesame Street, just to name a few. We first met Peter when he came through our advanced ProMedia Pro Tools Training Courses with us recently in Los Angeles in August, 2014. Peter is obviously at the TOP of his game in the TV mixing world, always wanting to stay on the cutting edge of technology with his knowledge. Without further adieu, we’ll let Peter tell you how he works some of his magic in TV and post production.


Understanding MIDI Concepts in Pro Tools

b2ap3_thumbnail_june1014figure1-477.jpgThroughout teaching the Pro Tools Certification courses, I have noticed the need to further describe several MIDI (Musical Instrument Digital Interface) concepts, which are briefly covered in the course textbooks. The AVID Learning Series Pro Tools textbooks provide an understanding of core-level MIDI definitions and then continue to show how to create MIDI- based tracks (either conventional MIDI tracks or Instrument tracks), record to them and ultimately edit and refine the performance data in Pro Tools.

In this article, I would like to cover the topic of single channel versus multi-channel MIDI instruments.


How To Produce a 30 Second Jingle in Pro Tools

Within the last few weeks here in New York City, I was hired to work on a radio commercial for McDonald’s. The producer and his writing partner had constructed a demo song (over 2 minutes long) for a new product promotion. I was given a rough stereo mix of the over length track to use in the recording session for the vocalists. On a day where we were booked to record an entirely different commercial as well, we worked at a rapid pace to get these vocals down. There was no tempo specified for the track, but this was no problem with Pro Tools! The quick trick I use (Tap Tempo) is to turn off the Conductor Button in the Transport Window, highlight the Tempo indicator, and “tap” the letter T on the alpha keyboard to get an approximate tempo (see Figure 1).





bvg12In this Pro Tools Course tutorial, we will discuss producing and arranging background vocals in Pro Tools in a method that is often used in modern pop songs. 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 Jan 2014, 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.


Avid Pro Tools 10 Versus Pro Tools 11 – Major Differences

Here are some additional in depth details about Pro tools 11 functionality. Since it became available at the end of June, 2013, the audio world has slowly dipped its toes in the Pro Tools 11 pool waiting to see if the hype and build-up were worth it. Most people have approached this “upgrade” with cautious optimism, mainly due to the fact that it’s more than just another “upgrade;” it’s an entirely new piece of software. About the only thing that isn’t new is the aesthetic look and feel. It still looks like the Pro Tools we all know and love- but don’t be fooled by its’ dashingly bland, predictable look. Everything you don’t see is totally new.


It’s all too easy to dismiss Pro Tools 11 as just another upgrade. It sure looks like PT10.



Welcome to a series of articles focused on working with video in Pro Tools. In the past we’ve spent quite a bit of time talking about the musical functionalities of Pro Tools, but it is equally powerful, if not more so, in the world of audio for video or film. What I’m going to do is start off with a basic overview of how to import video into Pro Tools then cover some basic workflow including how to export your final product. Watch for some articles to follow, as we’ll dive into some other topics such as Sound effects, Foley, Dialog editing, ADR, mixing, and possibly surround sound. What’s next, you may ask? Let’s dive down the rabbit hole and see what’s in store!


First things first, ALL Pro Tools systems can import video and bounce a final mix as audio or embed the audio into a new video. Although there are some advanced features of working with video in Pro Tools HD, everything we’ll be talking about applies to all Pro Tools systems. All you need to do is start with a Quicktime video. There are many video converters available, if you happen to have another video codec, such as AVI, mpeg, .VOB, etc. that can convert them to Quicktime video. Just do a search for a converter for from your video type to Quicktime. Personally, I use Quicktime Pro.



Here we will talk about how to use Auto-tune. This is a very common request during classes, aside from shortcuts within Pro Tools. In the 16 years since it’s inception (1997), Auto-Tune has been the industry standard for tuning vocals, and for good reason. From my own personal experience, it’s still my go-to tuning software, as it can keep up with my own workflow, and does exactly what I need it to do. There are many other tuning softwares available, but none have the proven to me better. In the past 15 years, I’ve never had a single negative comment, or even anyone notice that I’ve used a tuning software, which is exactly as it should be. There are many people out there wanting to lay blame on the tools for their work sounding robotic, or unnatural. I may take some heat for saying so, but this doesn’t have to be the case if you learn how to use your tools properly; pay attention to what the settings do. If something doesn’t sound right, keep tweaking until it does. It’s as simple as that. Now I must say though, there is a limit to how much tuning or editing you CAN do to a less than perfect performance. A common saying in the industry comes to mind - “You can’t polish a turd”. I could probably write an entire book on tuning vocals, but the intent here is to give you an inside look at the most commonly used parameters and how to use Auto-Tune in a more effective way….

Anteres AutoTuen