Automation Nation
Part 2 of 2 This month we continue our introduction to automation, one of the most powerful features in Pro Tools. We'll be working with the same Pro Tools session we used in Part 1. If you didn't save it, download a fresh copy here PC | Mac. I strongly recommend that you work through last month's column before tackling this one. You can download an archived copy here PC | Mac. Recap: We looked at entering volume automation data via fader, and by entering breakpoints directly on the track's volume line. Now, let's consider another volume automation option. Let's return to that "FilterPerc." track. Remember, we'd added some volume swells, like so:
But sometimes you don't want a straightforward linear fade. This fade, for example, would probably sound hipper if it swelled up more suddenly via a convex-curve fade. So let's make one. Click-holding on the pencil icon to select the "Free Hand" tool, the device used for creating curved fades, among other things. Now, try transforming the linear fades into parabolic ones by dragging the pencil across the fades. It may take a little practice to get this move down. If you screw up, just drag the pencil back over the bit you just botched. In the end, you should have something like this:
Now, the filtered percussion sound fades up more dramatically. Nonlinear curves can also be effective on fade-outs. Judge for yourself: Write a linear fade on the "Master" track. (Master tracks contain no audio — they merely control groups of audio or MIDI tracks. That's why there's no "track view" pull-down menu. The volume line is the only possible view.) Try a straight linear fade by creating two breakpoints on the "Master" line with the Grabber. Here's how it might look in a close-up view:
Now, switch back to the freehand tool and try a concave fade like this:
The effect: You perceive the fade sooner, but it seems to play out in a more leisurely fashion. Experiment with shorter and longer fades as well. These freehand fades may look a lot sloppier than linear ones, but they sometimes sound cooler. Actually, you get the same chaotic look when you input automation data via fader. For example, return to the "Atmosphere" track we automated in Part 1 and switch to the "volume" view. Now, try working in the "Space Bells" track using a combination of volume automation techniques. One idea: contrasting sudden and gradual moves, as I've done here:
You can also modify volume info with the Trimmer tool. This can be a massive timesaver. Say, for example, you'd like to have the "Space Bells" track fade up louder between bars 5 and 17. Simply highlight the target area with the Selector tool, and then switch to the trimmer. Note that the tool appears sideways when deployed in the volume view. Now, you can drag the overall level higher or lower without altering the relative volumes of the passage. The swell is substantially pumped-up in this view:
Let's use a similar move to stifle the bass loop in a couple of spots, thereby opening up the texture. Enlarge the view of the "Bass Loop" track and switch to the volume view. Try muting the part for the first four bars of each vocal section. You can highlight an entire region by double-clicking with the Trimmer, just as with an audio waveform. (Don't use the Grabber, though, unless you specifically want to create new breakpoints.) Then, switch to the Trimmer and lower the line for the selected sections.
Now might be a good time to take a peek at the Mix Window [Windows>Show Mix, or Command/Ctrl + =.] You may choose not to rely much on this view in general, but it's sure fun watching those faders dance. If you'd like to hear my version of the automation so far, close the "Bianca" session and open the one called "Bianca (automated 1)." Pan Handling Highlight "Bianca 1," the first vocal region. Click on the track's asterisk symbol, opening a fader. Set the faders automation mode to "auto touch." Press play and rotate the pan pot so that each phrase seems to emanate from a different side of the stereo field. Now set the audio track to "volume" view so you can see your work. You should see something like this:
As we've seen, the fader-module and breakpoint automation are redundant; changing one changes the other. Let's undo the automation by double-clicking on Bianca's volume line with the selector, which highlights the entire track, and then hitting "delete." The default center panning is restored.
Now, try writing some gradual pans by creating and dragging breakpoints on the volume line, like so:
Remember, the breakpoints will automatically snap to the grid lines if you're in "Grid" mode. To defeat this behavior, switch to "Slip" mode. Again, compare the effect of these linear fades with parabolic ones created with the pencil tool.
Panning stereo tracks is a little trickier, since you must wrangle both the left- and right-channel controls. Try this: Enlarge the view of the "Atmosphere" track and select the "pan left" view. Highlight the middle region. Click on the asterisk to open the fader and select "auto touch." Press play and sweep the left pan pot all the way to the right and then back to the left as the track plays. You should see something like this:
Now change the view to "pan right," press play, and sweep the right pan knob to the left, but toward the end of the region. Aim for something like this:
Solo the "Atmosphere" track and check out the result: It should sweep from left to right, and then back again. Mute Moves Set the "Space Bells" track to the "mute" view. Here, there are only two settings: on and off. Select the first two regions with the Selector and then drag the automation line down to the off position, like this:
Note that these mute settings override those recorded in the volume line and that the mute switch beneath the track's name toggles on and off to depict the mute status. Send Savvy This session includes a long delay plug-in. You haven't heard much of it yet, because so far it's being fed only by a bit of the "Space Bells" and "Atmosphere" tracks, as you can see if you click open the "Bus 1-2" plug-ins in the "Sends" column. (Note that you can view multiple faders simultaneously by shift-clicking on multiple "Send" icons.)
Close these faders, open the one for the "Bianca" track, and set it to "Auto touch." So far, none of this track is being routed to the delay. Roll the track from bar 19 and slide the fader up to approximately 0dB at the words, "behind you." Now, the two words should echo as the passage fades.
You can also create this effect by drawing and dragging breakpoints on the send-level line. Ultimate Plug-In Power Almost any control can be automated, either by working the virtual controls or manipulating breakpoints. The procedure is the same as for other types of automation, but with one extra step: You must "tell" the plug-in which parameters you plan to automate. Let's try adding a more extreme delay effect to the "Atmosphere" pad by turning up the feedback — that is, the number of echo repeats — for part of the passage. Highlight the "Atmosphere" region between bars 9 and 17, and click open the delay plug-in on the "Delay" aux track. Click on the "auto" button. In the ensuing dialog box, select "Feedback Left" and press the add button. Do the same with "Feedback Right" and then click "OK."
Check it out: Green "ready" lights have been added to the two selected parameters. Now, change the "Delay" track's automation setting to "auto touch." Now the lights are red. Pretty cool!
Now, play the selected passage, raising the left "Feedback" control to 100%, and then sliding it back down to approximately 50% by the end of the region. Play it again, repeating the process with the right "Feedback" control. Another cool function: These newly automated parameters have been added to the delay track's view list. Here's how my left-feedback automation looked:
You can hear my rendition of all the automation so far by opening the "Bianca (automated 2)" session. Try replicating and expanding on these automation techniques in your own sessions. Explore the automation options for each of the plug-ins on your system. And if you're feeling really ambitious, crack your manual and read up on the triangle-wave, square-wave, and random Pencil tool modes.
Click here to read previous columns.
|
