www.youtube.com/watch?v=FAdCqVpyHEM

So, the new Pro Tools HD interfaces were released today. I have been wondering when Avid would release these, given that the last model came out almost 8 years ago. Here’s an overview of what’s new.

The HD I/O.

At first, these don’t appear to have changed much from the old models. For starters, the names have changed. The old HD interfaces were almost some variation on the 96 I/O and the 192 I/O (referring to their sample rate capabilities). The new interfaces are the HD I/O 8x8x8, the HD I/O 16x16 Analog, and the HD I/O 16x16 Digital.  The other big changes appears to be internal. New power supply and circuitry.  Better converters. Other than some expanded I/O, there really aren’t’ many new visible  features to sell on these, other than the promise of improved sound quality. But isn’t that the most important thing? Here are the types:

HD I/O 8x8x8

This interface  is named for its 8 analog inputs, 8 analog outputs, and 8 digital inputs/outputs (either AES, TDIF, or ADAT). As with the previous models of Pro Tools interfaces, there is an expansion slot for more I/O to be added later. These run about $4000.

HD I/O 16X16 Analog

This new Pro Tools interface comes with 16 analog inputs and 16 analog outputs. Note that these are not 1/4 inch jacks, but rather DB25 connectors that need to be broken out as a snake or to a patchbay. In fact, the analog I/O on all of these new interfaces is DB25, unlike the older models. Though you can exchange analog cards for digital ones, you cannot actually expand this model with additional cards. All 4 are already in use. These run about $5000.

HD I/O 16x16 Digital

You could probably guess this, but this new Pro Tools interface has 16 channels of digital I/O. This can either be AES, TDIF, or ADAT, depending on your needs and what gear you will be interfacing with. This unit has two expansion card slots for more I/O. These cost about $2500.

The expansion cards can be for an extra 8 analog inputs, 8 analog outputs, or 8 digital outputs.

I’ll be interested to get my hands on one of these to do a new vs. old Pro Tools HD comparison. I’ll let you know as soon as I have the chance! As always, contact me if you’re interested in beginner to advanced Pro Tools tutorials and classes, or for anything related to audio engineering.

www.youtube.com/watch?v=7h66VGalcAk

This Ableton Live tutorial covers converting MIDI clips to audio clips. This isn’t a new Ableton feature, but it is certainly useful.

So, the question to ask is this: Why do you care about coverting this clip to audio? There are several reasons, both creative and technical. FIrst off, using software instruments and effects drains you computers resources, meaning that you can’t run as many plugins, and that you may run into latency issues as you have to raise your hardware buffer size. Creatively, there are certian things that you can do with audio that you can’t do with MIDI, including using the reverse function, as well as warping. Sure, you can quantize MIDI, but you can’t mangle it the way you can with warping and audio.

Start with a MIDI track. Insert an instrument and record or pencil in some notes into a MIDI Clip, eiher in the Session or in the Arrange view.

To convert the MIDI clip to audio, simply right-click on the name of the track and choose “Freeze Track”. It will take a second to render, and the track will turn blue. The freeze function in a number of other programs (Logic, Digital Performer, Cubase, etc). It basically renders out an audio file that has all your effects printed in. Then, the plugins on the track (including any software instruments) are disabled, freeing up your computer to do other things. Pretty cool right? So, in the case of our software instrument , essentially you’ve already converted the audio to MIDI, and the instrument itself has been disabled. But, we want to go one step further. The last step is to create an audio track and drag the frozen MIDI clip over to it. This clip appears as an audio clip in the new track.

Clips on a frozen track can be moved, cut, and trimmed just like normal clips. In the case with out MIDI clip, the only hangup is that you can’t go in and move the notes around, or change velocity or any other of the MIDI data contained within the clip. No big, deal—just right=click and choose “Unfreeze Track”. The plugins will be turned back on, and you can make any adjustments, with the ability to refreeze again if you choose.

Check back soon for more info, Pro Tools tutorials, Ableton Live tips, Logic demos, and other audio engineering techniques.

For the sake of this demo, I’ll consider a guitar track. Let’s assume that our guitar is panned a little off center (i.e 50%) so it will not be competing any of the typical “center panned” tracks, such as the snare and vocal. What you need to do at this point is create an AUX track and bus your guitar to it.  AUX tracks in Pro Tools, Logic, etc, allow you to monitor the output of effects plug-ins, as well as create internal submixes and stems. In our case, we want to monitor the output of a mono reverb, so make sure you are using a mono AUX track.  Pick a reverb you like–ProTool’s DVerb, Logic’s Space Designer, Waves RVerb–anything will do. insert it onto your AUX track, and pan this track 50% in the opposite direction of the fictitious guitar track (so if the guitar is panned to the right, then pan the AUX track to the left.)  Now, use an available send to bus your guitar over to the Aux.

It’s that simple! Again, this will help when mixing all sorts of instruments, so feel free to try it on anything. This mixing tip also works very well with mono delays to make a track sound “bigger” in the mix, without muddying things up. This tutorial will work in ProTools, Cubase, or any other DAW you run across.

Check back soon for more info, Pro Tools tutorials, Ableton Live tips, Logic demos, and other audio engineering techniques.

When you use an equalizer, you are basically controlling the volume of a certain range of frequencies.

“Graphic” equalizers have a number of bands that can be controlled individually (like in a “31 band” eq). In that case, you have sliders that give you control over the level of 31 fixed, adjacent (and often slightly overlapping) frequency ranges.

Graphic EQ:


This is the dbx iEQ31 Dual Band Graphic EQ (and Limiter!)

Graphic eqs are often used in live sound, to reduce frequencies that are contributing to feedback. This is often refereed to as “corrective eq”. Of course, graphic equalizers are also used to adjust the overall frequency curve of the mix.

Parametric EQ:


In contrast, parametric equalizers can have their individual bands customized to what the user wants. As with the graphic eq, you can adjust the level of each band, but you can also adjust the center frequency (the frequency at which the eq will boost or cut), and the “Q”, or the width/range of frequencies that will be affected. Parametric eqs typically have less available bands that graphic eqs, but that’s not a problem, because you can set each band to do exactly what you what. The picture above shows the Waves Renaissance parametric eq, part of many of he Waves plugin bundles. This particular version is a 6 band equalizer, because it has a total of 6 color-coded, flexible frequency ranges that can be adjusted as the user sees fit. Note that band 4 (the blue band) has a very narrow, or high, Q setting, so it (in this case) is cutting a very narrow range of frequencies. Band number 3 (the green band) has a lower Q setting, and (in this case) is slightly boosting a very broad range of frequencies.
Check back soon for more tips, Pro Tools tutorials, Ableton Live tips, Logic demos, and other audio engineering stuff.

Ever wonder if there was something simpler and more stable out there than Pro Tools or Logic?
Cockos Reaper is a native-based (no hardware required) DAW with similar possibilities and less challenges than the leading audio software on the market.

Float like a butterfly

Reaper is the lightest and fastest DAW on the market. Weighing in at less than 30 MB you don’t have to work about any hard drive strain. The stripped down design allows you to run a fully functional DAW from a portable drive on any computer. Unlike several products on the market, Reaper is fully functional on both Windows and OSX.

On the go? Plug your USB drive loaded with Reaper into the library computer and make some last minute edits.
Strapped for cash? Try Reaper for free for 30 days with no restriction and buy it for $60 should you decide you like it. You are going to run at least $150 for Pro Tools LE and $200 for Logic Express.

Sting like a bee

So, it’s cheap and its light, but why would you want to learn a new program, and how many features could it truly offer for $60?

The learning curve on Reaper is almost non-existent, especially if you are proficient in any other DAW. Everyone I know who has tried Reaper has found it incredibly intuitive. If that is not enough, the makers of Reaper (Cockos) have a superb manual that outlines the program from basic to advanced free of charge: http://www.reaper.fm/userguide/ReaperUserGuide365c.pdf

So what does Reaper support? THe usual suspects: Multi-track recording, MIDI sequencing and hardware support, plugin support (VST, VSTi, DX, DXi, AU, JS), automation, ReWire and much more. Most every feature that you could need is supported by Reaper is some form. If Reaper doesn’t support a feature you can always use third-party plugins which often work better in Reaper due to less resource drain on the computer.

One interesting feature that Reaper allows for is called Real-time Network FX processing. Sure you computer may not be able to render 20 audio tracks with Auto-Tune in real-time, but if you use other computers networked as “FX farms” you sure can. Real-time network FX processing basically turns any networked computer into a FX processing card for your computer. This is similar to “nodes” in Logic.

So try it out for 30 days and see how you like it. With updates coming out all the time who knows what Cockos will develop for Reaper next. I’m been pleasantly surprised.

Check out Logic 9 here!

For what you are describing, a mobile recorder like the Zoom H2, the Zoom H4, or the Zoom H4n would be good. The H4 is more expensive, but also sounds a little better and comes with free software (Cubase LE) to record with. They are made of plastic, however, so you can’t throw them around. If you are gentle, it will last a long time. The H2 really isn’t bad either, so if you’re tight on cash, don’t feel like you should steer clear of it. It even comes with a built-in guitar tuner. I would recommend either of these.

Best of all would be the Zoom H4a. It is has a more rugged build (which is important), more onboard effects, can record 4 channels at once (from the stereo onboard mics and from two external mics), has better sounding preamps, a bigger LCD screen, and can be outfitted with a remote control (for about 40 bucks extra).

Another important feature is that not only can you can use all three Zoom models as standalone handheld recorders, but  you can also connect them to your computer and record to the audio program you’ll be editing with. If you don’t record directly into your computer, you would record the the Zoom’s included 512 MB memory card, and then load that to your computer. You can purchase larger memory cards.

Another option is the Edirol R09HR. There is actually a “B stock” one at Zzounds for around $300.. These do essentially the same thing as the Zoom with a few differences. The Edirol cannot be used to record directly to your computer. You’d have to record to the device, and then load the audio files into a program like Audacity (a free audio editor). Unlike the Zooms, the Edirol comes with a remote control. So, you can sit down at your instrument and press “record” on the remote. Will you ever use this feature? I don’t know! I’d probably lose the remote.

Personally, I’d like a device that I could record straight into a computer with, as well as record with when I’m out. It depends on your situation.

Hope that helped!  Let me know if you need a recording class, or a class on Audacity, Cubase, Pro Tools, or anything else!

Thanks,

Daniel Rowland
lessons@theonlineaudioschool.com

Thanks again for your help.

You need a special interface to use your guitar as a MIDI controller. I do this, and I love it! You’ll be able to trigger pad sounds behind your playing, play strings/piano/whatever…even drums. You can even have each string trigger a different instrument. I recently worked on a session with the guitarist Adrian Belew, and he loves the MIDI guitar thing.

If you don’t have a special pickup built into your guitar, you can buy one separately or as part of a guitar synth package. Or, you can buy a guitar with the pickup built it. Keep reading for more info!

With the pickup, the output of your guitar is transferred over a 13 pin connector cable. This isn’t MIDI, it’s actually just audio, being taking independently from each string of you guitar (by a special “hex” pickup in the guitar). After that, all you need an audio to MIDI converter. Here are your options:

Axon AX50
$500 Strictly a guitar to MIDI converter, though it is certainly one of the best.  It is also a very simple device (as you can probably see from the link).  The Axon Ax100 is the big brother of the Ax50, and has sounds built into it. Might be overkill for you.

Roland GI20 A popular guitar-to-MIDI converter box. Sometimes these are bundled with the special pickup you’ll need, so you can save a bit of cash.  You plug your 13 pin cable into the GI20, and connect the device to your computer via USB. There is also and instrument out on this that you would connect to your audio interface/amp. Remember, the 13 pin cable carries your regular guitar signal, along with signal from each of the 6 strings (that will be converted into MIDI). So, you only need to plug one cable into your guitar! The converter will break it out into an separate audio (guitar) and MIDI signal. It works great. This has an instrument out and connects via USB.

Roland GR20
This unit actually has sounds in it already. It has foot-switches and an expression pedal which you can use to change patches on the fly. You can also take MIDI out to the computer and control the devices in Logic (over MIDI cables, not USB). I own one of these, with a pickup mounted on a Strat. It works well, though I really don’t use the sounds on it. Having the footpedals is nice, for things like sustain pedaling (think piano) and volume. I’d say that the tracking (the speed/accuracy of the audio to MIDI conversion) is a little slower on the GI20, though by milliseconds. Remember, the GR20 has sounds in it (it’s a synthesizer, as well as a guitar-to-MIDI converter). So, if you just want to trigger sounds on your computer, then I’d recommend the previous product.

Roland VG99
This is the king of 13pin guitar interfaces. I really want one! It costs more–around $800-900 dollars, however. This device functions as a guitar to MIDI converter (USB to the computer), as well as amp modeler/effects device. You can create patches that virtually retune your guitar to an open G (for instance), though you haven’t actually retuned you guitar at all. Any amps sound or effect is in it. It even has a Dbeam infrared feature, where you can wave your hand and change parameters.  There as some absolutely crazy/stunning sounds in this thing. It is a deep piece of gear. Again, if you want to stay entirely in Logic, this is not for you. It’s not cheap, and it may be overkill if you’ll only be playing nylon string. It would also be another relatively complicated piece of gear for you to tackle (along with Logic). Having said that, the VG99 is amazing

Ok, there you go. You’re really putting me to work! MIDI guitar is really fun, though.
Keep in mind that you may eventually want to get a MIDI foot controller to use for sustain pedal, patch changes, volume, or for other MIDI functions. There are several to choose from–let me know when you get there!

Thanks!

Daniel
lessons@theonlineaudioschool.com

The Online Audio School