Ye be the one usin' caps and multiple exclamations.
Not true about Vocalign. In fact, most of us experienced engineers and producers laugh at the very notion. Same goes for doubling...If you're worth your salt as a producer, then the double will work or not work in the end if that's what the song needs. Regardless, most major productions have a lot of vocal tracks.
If you're worth your salt as a producer?! What does that have to do with the ability of the vocalist to nail a double spot on for intonation, modulation and drift? I don't care how much "production" you or any other producer "worth their salt" throws down, some vocalists aren't very good at it. Why do they need to be? I don't triple the lead vocal.
Back in the 90's, this really famous artist asked me if I knew Pro Tools. I didn't have a clue, but I said "YES!" - for obvious reasons. Then he left the studio and I taught myself Pro Tools in 18 hours while assembling his album. But hey, thanks for the lesson.
You're the one trying to give a lesson, but you're not teaching me anything. You're overstating the obvious to someone that doesn't need it.
So what "really famous artist" was it? You might as well divulge, you know you want to!
Printing a + or -2db vox mix isn't expected by any label (+1 or -1 would be the norm), and by even doing that you're telling them that you don't have a lot of confidence in your ears.
This isn't the 90's anymore, and the rules of engagement are different when doing music videos.
Listening, looking, thinking of the tracks individually, to me, is an important part of doing what you can *as a mixer* to add dynamics and feel to a mix. Another reason why I rarely use groups is because I'll make changes and vocal rides all the way up to the 12th hour (because like I said, vox are the most important part)...And having them all on one fader becomes a pain in the ass that you don't need after listening to the same damn thing for 12 hours straight.
Well, I don't. Having a 'Group Track' (i'm calling it this so you don't get all angry and start yelling again) doesn't change anything about the mix. You can still do rides up to the 12th hour. You can still look and think about the vocal tracks individually. It does not change anything. Leave the 'Group Track' at 0. What difference is it going to make other than
you don't like it?!
Btw - what you're calling an "Aux track" is called a group track by professionals.
Bullshit! It's called both. I've also heard it called a "Sub Master", so don't freak out.
You're joking right? Who gives a rats ass what it says in the gd I/O setup!?!?!? On the damn mixer in Pro Tools it says SEND. In the frickin' manual it says SEND. The RETURNS come back as faders or stereo fader on the board. Again, that's the term used by professionals - RETURN. And shitloads (all) of analog boards say RETURN right on the damn front. And I'm not angry. I'm helping you.
Capitals = yelling. Multiple exclamations = excitement.
In the mixer it says "send"? I know.
In the manual it says "send"? I know. (i thought you didn't read DAW manuals!)
The "returns" come back whever you want them, whether it is on an "audio track" or an "aux track" or a "master fader". Does that make the audio track a "return"? If so, when I'm explaining what I want to the PT engineer on duty, I can just say "Set up a return for these FX, Joe." and he'll know that I want it coming back in on an audio track? Are you the one who is joking?!
You want clarification of terminology but you're refusing to accept that people ITB do not have a need for console terminology. It doesn't help. I'm sorry, but you are not helping me. The original poster is the one who needed help. I'm doing just fine.
Wrong on both counts. After you learn Pro Tools really well, you don't need to read the manual for any other DAW to get the job done. As far as analog consoles go, it's a nice feeling to be able to walk into any studio or any live venue and be able to have total control - regardless of the equipment. Staring at a screen all day can be detrimental to one's development as a professional.
In some other thread you chimed in to tell me that my post was "too late" and you had already answered it, even though I had provided a more thorough answer for the original poster.
The fact is, even an avid user (pun intended) of PT would not be able to just "walk into a studio" running Samplitude and have no issues. The same goes for Logic. Pro Tools is a very easy to understand DAW. The other two I mentioned are a lot deeper. I don't work outside of PT HD studios and PT LE systems on the road and at home. When I'm at studios with consoles, we hire an engineer to run the board. The bigger projects are sent out to be mixed.
There is nothing wrong with me or the knowledge I possess. I choose not to learn consoles because that isn't a priority to me. I prefer the instant and total recall of a DAW environment. I don't need to "do myself a favor" or rethink my "nutty methods", but thanks for your "concern". I'm a musician and composer, not a studio engineer, nor a freelance mix engineer who knows how to work in every facility.
Learning how to mix on an SSL will help make you a good engineer regardless of the platform or medium.
No. That will make you a good mixer on an SSL. There are plenty of old-school mixers who work on consoles that can't get the hang of mixing ITB and vice-vesa. There are different approaches to making a good mix ITB, like proper gain-staging for example, sampling rate, panning laws, plugins, etc.
The original poster needed help getting his CPU usage down. Nobody was asking for a lesson on signal flow in an SSL. The terminology used was used for the purpose of learning within the DAW environment. There are a lot of mentions of "aux tracks" and "bussing" on this board. You have some work to do if you plan on policing everyone who calls an Aux Track "Aux Track".
I will call it a Group Fader when talking to you, though!
