Moving pans can be done using automation to simultaneously increase and decrease complementary levels and pans. Level changes for tracks sent to more than one speaker may require automation to adjust multiple sends simultaneously. That's really cool But how do you bounce to disk when you're done?? Don't you only have a choice of one stereo output at that point? New 5. Top Mentioned Manufacturers. Facebook Twitter Reddit LinkedIn. Subscribe to our Newsletter. By using this site, you agree to our use of cookies.
Code by Port Forward. Today, I needed to open a Pro Tools session I had recorded and mixed back in Fast forward 11 years, and what would happen when I opened this old session? In this article I am going to walk you through exactly what did happen, and cover the issues that can crop up when you try to get access to older Pro Tools sessions.
Every so often, when Avid release a major new version of Pro Tools, they drop support for the oldest session and audio file formats that the previous version could open. So, although Pro Tools 12 will open sessions from v5. The main one is to do with the audio file format. The same applies to session files from versions of Pro Tools earlier than v5. Note that the older your Pro Tools sessions, the more likely it is that the audio file format used will be Sound Designer II, as that was the default audio file format for Pro Tools in the early years.
Pro Tools 10 was the last version that could open a session with SD2 files and automatically convert them to WAV BWF files; once this is done, you should be able to open the converted session happily in Pro Tools But back to my session created with Pro Tools 7. So, a while back I invested in a dedicated 8TB drive, and copied everything off all my backup drives and older DVD backups in order to have one consolidated backup disk, a Seagate archive drive in an external chassis connected by eSATA to my Mac Pro.
So, initially, I just double-clicked on the session file on my backup drive to open up my year-old session. Don't be limited by the rules, but do check and listen carefully to what you do to make sure it works in mono, stereo and surround.
Create a new path and select 5. You will also need to set the order of the surround outputs. To do this, click on the '5. You can also select sub-paths, which will enable you to route audio just to specific outputs like the Centre or Surround channels. To do this, select the main path, in this case '5. You can then create a range of sub-paths to suit your project.
Digidesign's surround-compatible Revibe reverb. To monitor in 5. Ideally, the five main speakers should all be the same brand and model, and certainly from the same 'family'; it is quite acceptable for the surround speakers to be a smaller speaker from the same range, but it is generally accepted that the front three should be the same.
Your main speakers should be 'full range' and not depend on the sub for low-frequency reproduction. In the real world, however, this isn't always possible, so you will need to use the sub as a subwoofer as well as for the LFE channel. In this case it is very important that your system is set up correctly so that it is as flat as possible, otherwise your mixes will not transfer to other places correctly. You also need to calibrate your speakers so that the sound level at the mix position is the same for every speaker.
This should be done with pink noise, and you will need some form of sound-level meter to measure the volume. Set the sound-level meter on a stand at the place where your head would be when sat at your preferred mix position.
Then route pink noise to the left front speaker and adjust the level of the pink noise to an easily read amount, say 80dB SPL. Then mute the feed to that speaker and route the pink noise to each of the speakers in turn, adjusting the level going to that speaker until the sound-level meter reads 80dB SPL.
If you have the Waves Bundle , it makes this calibration process a lot easier, as one of the elements of the Bundle , M Manager , enables you to easily solo each feed and to fine-tune all the levels. Remember to save the settings for future use! This subject is so enormous I could easily fill this entire issue, and more, working through the subject.
To get you going, though, here a few ideas. The reason for this is that most reverbs and panners are configured for 5. Resist the temptation to use the LFE track: it is really only intended for special effects in films, like earthquakes! Most broadcast and music work is usually 5. When mixing, always try to use a surround reverb plug-in. Digidesign's Revibe is an excellent surround reverb, and I reckon quite a lot of you will have it by now as a result of the plug-in offer Digidesign made with the v7 upgrade deal.
Try it out and feel the sound envelop you just like it does in real life. Other surround reverbs include Waves' R , which is also included in the Bundle , while there are surround-capable convolution reverb plug-ins like TL Space from Trillium Labs and Altiverb from Audio Ease. In stereo mixes you can use the pan control to position a sound within the stereo soundstage. Likewise, in surround you can pan a sound source anywhere in the surround soundfield, but doing so requires several controls to be adjusted simultaneously.
Help is at hand, courtesy of the Digidesign Surround Panner, which allows you to route and position a stereo track in the surround soundstage. To use the Digidesign Surround Panner, click on the miniature fader button just above the meters of the appropriate track in the Mix window, and the Surround Panner window will open. From here you can position a sound source as you would with a conventional pan control.
As you move the green dot around the box, you'll see all the channel pan controls moving in different ways, and it doesn't stop there. The Surround Panner has an extra set of controls at the bottom of the window called Divergence. Reducing the Divergence control will route some of that track into the adjacent speakers, so 'spreading' the sound.
Another surround panner is S Panner from the Waves Bundle. To use this, select it from an available insert on a channel. Waves offer a Width control rather than a Divergence control, which I find more intuitive to use.
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