1. Pro Tools 7 Session Secrets Chapter 6: After the Bounce or Life Outside of Pro Tools Life Outside of Pro Tools

2. Pro Tools Recording techniques in this chapter include: Audio formats outside of Pro Tools Mp3’s Burning your tracks to CD Creating Podcasts Setting up your tracks to master Mastering in Pro Tools

3. Audio Formats outside of Pro Tools MP3. The most common and well known compressed audio format. Compresses the file at a rate of 10 to 1 and the quality is set by the user MPEG-4 AAC. An Apple format used by iTunes and the iPod. With a sample rate to 96k it beats the original maximum MP3 rate of 48k. Ogg Vorbis. Its creation was a direct retaliation to a licensing fee boost from the holders of the MP3 format. This is a hot codec right now for a number of reasons, not the least of which is the fact that it’s free and it sounds very good. WMA (Windows Media Audio). Microsoft’s system of encoding and decoding media native to Windows Media Player. Apple Lossless encoder. This is the Mp4 format and utilizes about a 60% file reduction with no apparent loss in quality. The file reduction is much less than an MP3 or AAC but you get pretty much the sound of the original.

4. Working with Mp3’s You can make MP3’s that sound like anything from AM radio to CD quality depending on the bit rate setting. The original MP3 Codec has been greatly improved upon. By compressing a file too much (or at all) your audio can lose much of its hi frequency content and low frequency energy. Building an iTunes library or equivalent with good quality MP3’s will let you store 10x more music than if you rip it in as a wav. The MP3 codec was developed in the late 80’s but it was almost a decade before computers and the Internet could encode and send the data fast enough to make it useful. iTunes can make hi quality MP3’s by changing the settings under Advanced / Preferences / Import to the highest quality setting.

5. Burning your tracks to CD As you bounce in Pro Tools consider your final destination. Bit rate and sample rate need to be set accordingly to what medium you output to. As you bounce in Pro Tools consider your final destination. Bit rate and sample rate need to be set accordingly to what medium you output to. In addition to bit and sample rate, choose the right audio format for your needs. A red book audio CD needs to be a Wav not an Mp3. In addition to bit and sample rate, choose the right audio format for your needs. A red book audio CD needs to be a Wav not an Mp3. Burn audio to CD-R discs, not CD-RW. Burn audio to CD-R discs, not CD-RW. The brand of CD you use is very important.The compatibility and failure rate of the disc directly corresponds to the manufacturing. Don’t skimp! The brand of CD you use is very important.The compatibility and failure rate of the disc directly corresponds to the manufacturing. Don’t skimp! Slower burn rates are generally thought to be better when making audio CD’s. Slower burn rates are generally thought to be better when making audio CD’s. Don’t burn important discs with a cheap burner. Don’t burn important discs with a cheap burner.

6. Creating Podcasts Podcasts are server based media files usually containing audio or video content, in English, Podcasts are just digitally formatted shows of any kind, you can subscribe to, download and playback on a digital device. Uncompressed audio and video still require too much bandwidth so you will have to compress your files. If your content is not music think about mono. Podcasts can be downloaded into mobile devices. Podcasts utilize RSS technology and are subscription based. iTunes 4.9 and above has a built-in Podcast playlist and you can link your feed to their site.

7. Setting up Your Tracks to Master Eliminate any plug-ins on your master fader before you bounce your final mix. Leave maximizing, compression, EQ and similar fx to the mastering process. Eliminate any plug-ins on your master fader before you bounce your final mix. Leave maximizing, compression, EQ and similar fx to the mastering process. Don’t convert your files as you bounce. Bounce out your session at the native sample and bit rate and let the mastering engineer do the conversions. Don’t convert your files as you bounce. Bounce out your session at the native sample and bit rate and let the mastering engineer do the conversions. Make multiple versions of your track such as Full mix, A cappella, instrumental and music with chorus. Make multiple versions of your track such as Full mix, A cappella, instrumental and music with chorus. Burn your bounces to data cd’s instead of audio to take to mastering. Burn your bounces to data cd’s instead of audio to take to mastering. Label everything. If you have different versions of your track make sure they are labeled correctly. Label everything. If you have different versions of your track make sure they are labeled correctly.

8. Mastering in Pro Tools The mastering process addresses tone, imaging, compression, space and volume. Mastering prepares your tracks for duplication. EQ. Give a similar tone to all of your songs or tighten up individual tracks. EQ is one of the most common effects used during mastering. Stereo Imaging. Check and adjust the width and depth of your stereo field. Exciter. An exciter can put a little presence and sizzle into your track. Reverb. Apply a global reverb to add overall consistency to a track that might have used different reverbs while mixing or to give depth and sheen to the entire mix Maximizer. Bring your track up to commercial volume levels and add fullness. The Waves L1, 2, L3 and Digidesigns Maxim are great examples of track slammers. Multiband FX. Multiband plug-ins allow you to apply different settings to different frequencies. Multiband plug-ins give you much more flexibility than single band plug-in in mastering.