From the course: Audio Mixing Master Class
Effective effects automation - Pro Tools Tutorial
From the course: Audio Mixing Master Class
Effective effects automation
- [Instructor] Modern mixes are built around parameter automation in your digital audio workstation. We're able to automate more than ever before, which is why mixes sound slicker than ever before. Here's a couple of examples of where automation can really come in handy in your mix. The first that I want to do is add an explosion on the snare drum but only on one hit. So first of all, let's take a listen. (rock music) Now I only want it on one particular place. And let me show you where it's at. (rock music) That's pretty cool, huh? Now I can do it a couple ways. One way is I can go to the return, and automate the return, and the return is the snare reverb. Now watch. (rock music) So what I'm going to do is I'm going to put this into touch. I'm going to put it into mute. And then unmute it in the right place. (rock music) There's a lot of problems there because we have some reverb that's hanging over and we're cutting it off prematurely when we do it like this. Have a listen how it worked. (rock music) That really didn't give us what we wanted. Let's go back to where we were before, and actually I'm going to solo this up, and here's the best way to do it. There's several ways. This is the easiest. And what we'll do is we'll go once again into touch automation. Touch automation means it's only writing automation when we change something, if we move the fader or if we change a parameter, then it writes and as soon as we stop, then it stops writing. Okay, let's listen. (rock drums) See, it was very very nice and blended in very nicely with the rest of the track. We didn't hear anything muting. Let's listen to how it fits. (rock music) Worked really well, huh? Okay, let's try something else here. We're going to go to the vocal, and let's say what we want is some delay at the end of each line. I'm going to go to the beginning of the verse. Let's listen. (rock vocals) If we look at our delay over here, it's on bus 21 and 22, so here we go, bus 21 and 22. And once again, the easiest thing is to gradually bring it in and bring it out, and for that, what I'll do is I'll move the fader. But once again, in here, we'll go into touch automation. I'm only going to do it on every other phrase. Here we go. (rock vocals) Now take notice is what I'm trying to do is just get the very last word. Let's have a listen. (rock vocals) Let's do it at the last word of every phrase. Let's give that a try. We go on auto touch again, here we go. (rock vocals) Now the reason why this works really well is we could actually automate the mute, but this gives us a more natural feel. It allows us to bring the delay in at the right time, and it allows us to gradually bring it out at the right time as well. Let's have a listen in the track. (rock music) Again, what's happening here is we could have the delay or reverb or whatever it is, we can have it on all the time, and sometimes we like that and sometimes it works really well, but many times, that gets in the way. It muddles up the words, or we get an effect that we really don't want. Sometimes we just want it to carry on in the holes, so we want the effect on the very last word of a phrase and then just to carry over and fill up the hole. And that's what it does here. So to summarize the automated effects trick, first of all, find the section of the song that needs to be effected. It could be as small as a word or even a phrase, or it can be a long portion like a chorus or a verse. The next thing is to enable the send or mute automation and usually by enabling the fader automation, the send and mute automation automatically gets enabled as well. Or if you want to automate an effect or a plugin, you have to enable that individually, usually on most workstations. Next thing is to place the automation of the channel in touch mode. And again, touch mode means as soon as you touch the enabled parameter, the automation will begin to write. When you stop touching it, it will go into read, and that's usually what we want for just automating a brief period of time. And finally, make the appropriate move that you need to automate and then you're done.
Contents
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The Abbey Road reverb trick6m 7s
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The Real NYC compression trick8m 52s
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The secret to "punchy" drums6m
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Give your vocal an awesome airy sound4m 13s
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Dr. Pepper 1176 setting4m 8s
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Low-volume listening for a great mix balance6m 59s
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The secret SSL buss compressor setting4m 36s
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Using a short reverb for a massive sound5m 43s
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Make your mixes hot and loud10m 11s
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The Van Halen guitar sound trick5m 40s
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Give your bass some low-end definition5m 42s
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Make your vocal shine with a stereo delay7m 13s
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Add some excitement to your boring pad tracks5m 2s
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Make your programmed hi-hat come alive5m 37s
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Get that old-school delay feedback5m 33s
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Eliminate unwanted track noises like the pros4m 37s
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Short reverb decay is your friend5m 17s
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The 1176 British "nuke" setting4m 8s
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The mono spring vocal surprise4m 6s
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Put some "smack" in your snare1m 52s
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"Space" for your keyboard tracks3m 1s
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The secret to panning background vocals3m 35s
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The “nail In the paddle” rock kick sound3m 57s
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The Hank Marvin multihued delay trick4m 21s
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Emphasizing the beat with a pumping rhythm guitar5m 17s
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Simulating a tape delay6m 45s
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Parallel compression for punch with dynamics7m 26s
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How to get reverse reverb7m 48s
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Tweak your track timing like the pros6m 9s
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The biggest sound from the shortest delay3m 53s
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The ultimate 80s guitar room sound3m 7s
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Taming the picked bass5m 18s
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The secret to gated drums4m 50s
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The exploding snare trick4m 11s
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The awesome double-effect trick3m 33s
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The moving filter trick3m 9s
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The terrific timed reverb trick7m 48s
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Acoustic guitar peak limiter trick4m 39s
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The Tommy Lee thunder drums trick5m 6s
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The mono listening trick5m 1s
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The pitchy vocal coveruo trick3m 48s
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Tighten up releases4m 1s
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The large and thick background vocal trick3m 31s
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The legendary layered reverbs trick6m 33s
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Bones Howe 1176 setting4m 17s
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The big pad reverb trick4m 26s
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Effective effects automation5m 33s
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Eliminating clicks and pops3m 35s
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EQing the mix buss4m 49s
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The magic of mono reverb5m 9s
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Adding presence with flanging3m 58s
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Insanely big room sound4m 19s
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EQ your vocal with multiband compression4m 19s
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The Abbey Road double-track trick5m 28s
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The secret Pultec bass setting3m 42s
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Increase your background vocal energy3m 13s
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EQing the perfect club kick2m 34s
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Another exploding snare trick4m
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Perfect DI and mic'd bass phase3m 34s
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Finding the Elton John piano sound4m 39s
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Effecting the effects5m 41s
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Panning outside the speakers5m 25s
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The wisdom of dotted and triplet delays4m 42s
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Increase your room mic presence5m 15s
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The dbx 160 punchy drum setting6m 8s
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Dual untimed vocal slaps5m 3s
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Tuning the kick to the song4m 28s
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De-essing the reverb4m 36s
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Let's hear it for mid-side processing3m 54s
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Dial in your low end with an RTA5m 36s
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Add some air to that piano5m 55s
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Lock the feel of the bass and kick4m 41s
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Swept midrange guitar trick5m 16s
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Hat pad trigger trick4m 9s
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Big thump snare3m 57s
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Single word delay3m 48s
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Drum replacement4m 47s
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Keyboard life4m 4s
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Balance kick and bass8m 51s
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Ducked reverb5m 52s
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Autopanning5m 38s
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Tame peaky acoustic guitar5m 9s
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Snare ambience5m 3s
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Pitchy vocal4m 13s
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Snappy snare4m 58s
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Super big reverb5m 52s
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Spectral widening4m 37s
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Clean overheads4m 38s
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Argo vocals4m 21s
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EMT short room6m 19s
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Massive snare5m 1s
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Compressed reverb4m 30s
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Bass wide4m 47s
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Vocal control3m 42s
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Compressed guitars5m 26s
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Snappy snare4m 47s
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Dry vocals2m 44s
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Bass trigger4m 15s
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Hard snare4m 51s
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Drum phase3m 25s
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Floppy kick2m 56s
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Rough mix5m 58s
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Make your drums fills more dynamic3m 23s
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The filter boost technique3m 5s
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Add some sizzle to your snare3m 3s
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That big wide guitar sound5m 53s
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Hear every hat nuance4m 25s
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Micropan for greater track separation8m 33s
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Make those toms bombastic5m 11s
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The power of the high-pass filter3m 53s
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Add some ambience to your percussion5m 9s
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Flat fader mixing8m 45s
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Get control of your cymbals2m 16s
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