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....
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, ...
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 ...
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 ...
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 "...
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 ...
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 ...
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 (...
a box of sand
2 coconut shells
a white cabbage
a pane of glass
a piece of expanded polystyrene
a side of ham [or bag of sand]
a hammer & a blunt chef's vegetable knife ...
hours of fun.
You might want some footage they can see the effect on.
20 mins of Game of Thrones with the sound turned off could use all those.
Your questions couldn't get much broader, especially as the reader isn't aware of what precisely you are a 'beginner' at... There is so much to cover.
You haven't stated whether you already compose anything. Without knowing this, it's difficult to know where to start, on the music side of things.
Do you wish to emulate the 8-bit sounds of a NES? I'll ...
Not Leaving Headroom
Unless you are pushing to analog tape, you don't need to pin the meters just below the redline. Processing through plug ins will add amplitude, so you need to leave room. The best practice of pushing levels is antiquated in this world of virtual instruments and very quiet mixers.
Cellotape - I think it would sound very christmas-like if you layer some bell jingling with cellotape being stretched out for gift wrapping :)
For the gift shaking I would use a shoe box and fill it with various types of objects for example:- plastic toys, DVD cases, coins etc. Then shake the box with various degrees of excitement!
In terms of tree ...
I tend to agree with Mark's answer above. For me the two main aspect of Sound Design are the HOW and the WHY. Although the HOW questions can be very interesting and there are always new techniques to learn, as you gain more technical experience they tend to just build on known principles. However, the WHY seems to become more interesting. As a result, ...
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.
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).
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.
I know, this is an old post, but in case new user found this, here are some tips every soundminer user should know:
Creating a clearly arranged database structure for your sounds. Create a database for a: all sound currently in use, b: all purchased libraries, c: all your own sounds, d: all production music - find a logic which works for you.
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