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10

It may or may not be a well known secret, but if you hold down all 3 modifier keys (cnrl, option,command), then click file > bounce to QuickTime movie - you get a hidden menu that allows you to compress and bounce to many different formats!!!!! Why would they hide this? NO IDEA....


6

I heart soundminer. My general sm workflows: create an "import" database that you use for tagging sounds with metadata before adding them to your libraries. Quarantining new sounds and manipulating them outside of your massive databases is quicker and cleaner than putting them into your big database and adding metadata there. The reason is because ...


6

Noise Reduction always makes things sound different, not necessarily better. Not everything needs to be pristine.


5

how about: don't use bright mics on bright sources also, headphone gain affects an actor's read. edited to add: don't eq things when they're soloed out - eq relies on context


4

When designing a layered effect, mute layers/regions once in a while- What can't be heard/felt is only clogging up your signal path Low frequency energy adds up really quickly


4

Spend more time watching the video and less time with your eyes glued to Pro Tools. This is something I try to keep in mind because it can be so easy to get sucked into the computer screen. Automation Preview mode is also a god send.


4

A gem from Randy Thom: An omnidirectional mic placed close enough to a sound source becomes effectively directional. It's all about S:N! :-)


4

Creating Track Presets in Protools 10 1) Go to Applications > Avid > Pro Tools. Here, create a folder titled "Track Presets". you can also create folders within "Track Presets" for different categories (ex: Reverb, Master bus, Virtual instruments and so on) 2) Create a new track in a blank project and configure the track to your tastes (inputs, outputs, ...


4

shift scroll side to side woohoo!


4

I am thrilled to have this community and I have learned so much from so many questions and answers here. The previous responses touch on many great answers and I agree with them all. But, to me, the most important things that I have taken to heart from SSD are two concepts underlying the whole board that are constantly reinforced. “There are naive ...


3

if i have a long sound file with a lot of little transients that I want to isolate and use all at once I do the following: 1) spot the long file to a track in protools 2) use strip silence to isolate the transients and remove all of the whitespace. I usually set the minimum strip duration to zero and use very small start and end pads. Then set the ...


3

Thought of a couple to add to the mix: Empty Region Groups > Markers Since we're not blessed with multiple types of markers, I use empty region groups to spot foley, adr, make general notes, etc. and markers are left for working with sync or "Pick Up here". They're particularly useful to block out scenes. I create an audio track, switch the voice from "...


3

Some of these are more relevant if you're regularly involved with a show and not so much if you're a contracted remote studio, but here goes: Consider the nature of the show and decide whether a round-table approach is better than one actor at a time. It presents greater technical problems but can lead to more natural dialogue and some great moments of ...


2

1) Try this question or this question to see what people have already discussed in terms of mic choice for quiet sounds. 2) For the bigger sounds you'll find that using multiple layers will get the results you want. Experiment with what you think might sound right - often the best results come from mistakes! 3) Not quite sure I fully understand what you ...


2

I am studying sound design, so there is not much I can say, but the thing that came to me like some kind of angel from the heavens was when i found out about the elastic audio, while editing the dialogue for my second project. During the first one I would ask my ADR friends to start over and over again in order to synch the speech with the picture... and ...


2

Rather than focus on your source sounds, think about how any sound can fit within a mix. Some people spend hours trawling through sample packs when they could of used 100's of sounds they passed. THe trick is making the dynamics and frequencies sit between everything else. Relativity baby...


2

Clip grouping! (command + option + G)... I use it all the time to move around sound design events. Also to make edits while pro tools is running! for example, group two mono tracks (you'll only be recording on one of them) - if you have a voice talent running a :60 script, you can follow along with them & make edit marks (command+option+G) for pickups or ...


2

I'm not sure of the PC versions of these, but a couple of quick tricks on a mac for the automation lanes: If you want to automate a parameter in a plugin, hold down Command + Option + Control and click the parameter To quickly bring up the automation data for any automatable parameter, hold down Command + Control and click the fader, knob, or button in ...


2

It's a good question, and I hope more people will answer. Of course there's tons of useful stuff on SSD so it's difficult to choose! I guess sometimes you read something which totally changes your thought process in a particular area, gives you a completely different angle on a problem. I think these are the real gems - not learning a new keyboard shortcut (...


1

I like the fact that every problem creates numerous solutions. Its reassuring to know there's very little fixed ways, and everyone is willing to adapt and learn every day :)


1

I think the best thing I've realized through SSD is how small the sound community really is. What I mean is when you think that tracking down industry pros for advice is really elusive, you see people on here holding regular conversations that are serious heavy hitters in the industry.


1

Seeing a cross-section of personalities and opinions (ok, blame me for assessing people through their somewhat informal writings) that are attracted to or work in this sector. Also, seeing a cross-section of numerous problems and solutions, even though the subject is rather well-defined (= often not defined at all, because it's an abstract art). Overall, ...


1

In pro tools you can do a strip silence. Or that might not be it? First thing i thought of


1

Here's a technique I'm using lately: layering a natural recorded sound with a phase inverted noise floor extracted from the same sound. This is the best way I found to have a good noise reduction without loosing too much of the original feature.


1

When splitting mono atmoses between scenes, use a stereo and swap between the L and R, meaning they can be seamless and no phase issues. It's made things far easier for sitcoms etc based in the same place for the whole episode.


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