I am still having some issues related to settting up audio and midi, but for now I am able to lay down audio tracks, whcih is 90 percent of what i will be using Metro for. This program is largely intuitive, which is great for somewhat like me who has trouble understanding written instructions. But there is one arae where I am entirely lost: Cut a track or track (remove the first few seconds of false starts), then move the track or tracks to the beginning). I am used to Garageband/Word processor simplicity. I know there are many capabilities, but right now I want the simplest way.
GOAL: Take 2 tracks I have simultaneously recorded, cut out the few introductory seconds of false starts, then get rid of that empty space where the deleted info is.
(1) First, I cannot seem to select a cursor in the track view. Am I correct I have to use the graphic editor and click bars rather than scroll a cursor to visually find where I think I want to split the tracks?
(2) Once there I cannot find a split clip menu item, so I just slect all before that point, then cut.
(3) But I ONLY SEE one track in the graphic editor. I want to get rid of all the info before that point in time (I want to say before the cursor butu there is no cursor).
(4) With one track I have sort of found I can select the track data (easier in track view--have to keep jumping windows) and then pull it to the left.
But again, I can't seem to do this with two tracks, which is what I needed since I recordedthem at the same time.
track view.
Thanks.
Paul
Simple cut and paste operations (audio)
16 posts
• Page 1 of 2 • 1, 2
Simple cut and paste operations (audio)
by arenson » Mon Jan 08, 2007 9:18 am
- arenson
- Posts: 58
- Joined: Wed Dec 21, 2005 2:44 am
ahhhh...great...discovery is slow but worth it
by arenson » Mon Jan 08, 2007 10:20 am
Somehow I couldn't find it so easily in the manual online, but now I see, we can expose tracks in the graphic view!!!
And we can delete time instead of cut!!!
Now all I need is an easy way to see which effects I have already added to a
given tracck so I don't do it twice by mistake.
A nagging question is whether to add compression to a loud operatic vooice before or after adding reverb. In general I am adding the same room sound to all tracks with acoustic instrument (almost don't need echo). But the voice is easy to peak so I guess I add compression to the voice first.
I can't figure out what fast and easy or the other presets are all about---even on Apple's site they don't really explain acoustic, gentle sub control and fast and smooth....
Thanks!
And we can delete time instead of cut!!!
Now all I need is an easy way to see which effects I have already added to a
given tracck so I don't do it twice by mistake.
A nagging question is whether to add compression to a loud operatic vooice before or after adding reverb. In general I am adding the same room sound to all tracks with acoustic instrument (almost don't need echo). But the voice is easy to peak so I guess I add compression to the voice first.
I can't figure out what fast and easy or the other presets are all about---even on Apple's site they don't really explain acoustic, gentle sub control and fast and smooth....
Thanks!
- arenson
- Posts: 58
- Joined: Wed Dec 21, 2005 2:44 am
by Jerm » Mon Jan 08, 2007 1:57 pm
Well, I was going to answer your questions but it looks like you mostly answered them yourself already.
To view multiple tracks in the graphic editor simply click on the plus icon in the upper left of that window. Delete time is what you want.
You can select multiple tracks in the track window several ways. One is to click outside of the current selection and drag. The other is to click above all tracks in the timeline (not the marker line) and then drag. You can turn on mouse quantizing so that you always select measures or beats as desired. Another way to select time for all tracks is to make the selection in the graphic editor and then go to the tracks window and click the all button. This selects all tracks without affecting time. Finally if you hold the option key while selecting delete time in the graphic editor window, it will delete time across all tracks. Insert time works similarly across all tracks when the option key is held down.
To view multiple tracks in the graphic editor simply click on the plus icon in the upper left of that window. Delete time is what you want.
You can select multiple tracks in the track window several ways. One is to click outside of the current selection and drag. The other is to click above all tracks in the timeline (not the marker line) and then drag. You can turn on mouse quantizing so that you always select measures or beats as desired. Another way to select time for all tracks is to make the selection in the graphic editor and then go to the tracks window and click the all button. This selects all tracks without affecting time. Finally if you hold the option key while selecting delete time in the graphic editor window, it will delete time across all tracks. Insert time works similarly across all tracks when the option key is held down.
- Jerm
- Posts: 2707
- Joined: Tue Feb 11, 2003 12:50 pm
- Location: Massachusetts
by Scoot » Mon Jan 08, 2007 2:00 pm
If you do a command 9 and a command zero, you can bring up all plugins available and drag them to any given track.
The current track you would drag to, is named in the window brought up by command zero. If the effect/instrument has its own window, you can click the edit button here to open it.
Another point - the wet/dry slider is set up as one goes up.......the other goes down. Remove the lock symbol at the bottom to set them wherever.
If you have set up an aux bus in the modify outputs and busses menu option, you could add a general reverb to an aux.
Then the same reverb can be added to all instruments by varying amounts instead of wasting CPU placing 10 reverbs on 10 tracks.
The current track you would drag to, is named in the window brought up by command zero. If the effect/instrument has its own window, you can click the edit button here to open it.
Another point - the wet/dry slider is set up as one goes up.......the other goes down. Remove the lock symbol at the bottom to set them wherever.
If you have set up an aux bus in the modify outputs and busses menu option, you could add a general reverb to an aux.
Then the same reverb can be added to all instruments by varying amounts instead of wasting CPU placing 10 reverbs on 10 tracks.
- Scoot
- Posts: 1124
- Joined: Tue Feb 11, 2003 10:50 pm
- Location: New Zealand
Getting the hang of it...
by arenson » Mon Jan 08, 2007 10:43 pm
Jerm and Scoot
Thanks!
Wow, when I was younger, learning curves were easier, but still I am getting Metro to work, slowly but surely. Thanks for the help. AND, now I understand why I am plesantly reminded of my old Cakewalk days---I just read about the Metro heritage!!!
"You can select multiple tracks in the track window several ways. One is to click outside of the current selection and drag. The other is to click above all tracks in the timeline (not the marker line) and then drag. You can turn on mouse quantizing so that you always select measures or beats as desired."
Hmmm. I read about that. It says you can see a mouse icon, which I didn't. As I won't be home for another 18 hours, will have to try then
"If you do a command 9 and a command zero, you can bring up all plugins available and drag them to any given track."
Yes, I found this..... So this will let me be reminded of what tracks have what....good!
"Another point - the wet/dry slider is set up as one goes up.......the other goes down. Remove the lock symbol at the bottom to set them wherever."
JUST AN EXPERIMENT IN HOW TO APPROACH ADDING EFFECTS. PLEASE TELL ME IF THIS SOUNDS OK OR WEIRD OR WHATEVER
For what it is worth, I was doing an acapella song and wanted to have one mic pick up actual room presence, set far away. I then had two tracks. One had only very slight mid size room reverb and the room presence mic, placed farther away, I added large hall reverb. Then in mixing them, I panned near center for the main mic and panned far right for the room presence mic. So voice was caught on two mics from different positions. I guess I was making my own "dry" and "wet" this way. Since I am only me, my 12 or 6 string and an occasional additional harmony voice, or keyboard string, organ or flute and maybe some finger clicking, I don't use a lot of tracks anyway.
"If you have set up an aux bus in the modify outputs and busses menu option, you could add a general reverb to an aux." I read aboutthat. have not tried. Then the same reverb can be added to all instruments by varying amounts instead of wasting CPU placing 10 reverbs on 10 tracks."
Ok..will have to go back and read that.....
Last, two fundamental questions on effects...
COMPRESSOR BEFORE REVERB?
Ok, let's say I have voice on one track and guitar on the other.
BEcause my voice is powerful (trained as an opera singer, which sounds odd on fold songs, but occasionally I belt out a high part that peaks too high, even if I do the entire recording baked well away from the mics....unlike many pop singers who seem to be practically swallowing them!!!). I want to add some compression to the voice (but not the guitars). The question in genearl is, do I apply the compression to the voice before adding the dynamics (reverb for room size)? Is there a general rule?
My friend will master a CD I am making for CD Baby but he told me to add these effects sparingly myself to individual tracks.
In the above case where we have a general reverb, does the same thing hold?
SIMPLE COMPRESSIOn
The Apple ones here list 4 main types. Fast and Smooth. and
subcontrol analog gentle
Many online resoureces say that ifr the big compressor options are too much, just use these. But I can find no explanation of what these are and how they work. Like when to use X and when to use Y.
Fast and simple seems less noticeable... (good?)
REVERB EQUALS ECHO EQUALS EQUALS DELAY
I know these are different, but what I grew up calling echo (I am 54) seems to be called delay, yet when I add delay it just sounds different. Is it considered "wrong" to just use the room presence (medium room, etc.) reverb as my only "echo"? Maybe because I am an acoustic musician, I do not seem to require a lot of processing.
Thank you all.
paul
Oh, here are some old songs recorded badly with Garageband or from
casette tapes originally made on other analogue or digital equipment.
http://soundcllick.com/paularenson
Thanks!
Wow, when I was younger, learning curves were easier, but still I am getting Metro to work, slowly but surely. Thanks for the help. AND, now I understand why I am plesantly reminded of my old Cakewalk days---I just read about the Metro heritage!!!
"You can select multiple tracks in the track window several ways. One is to click outside of the current selection and drag. The other is to click above all tracks in the timeline (not the marker line) and then drag. You can turn on mouse quantizing so that you always select measures or beats as desired."
Hmmm. I read about that. It says you can see a mouse icon, which I didn't. As I won't be home for another 18 hours, will have to try then
"If you do a command 9 and a command zero, you can bring up all plugins available and drag them to any given track."
Yes, I found this..... So this will let me be reminded of what tracks have what....good!
"Another point - the wet/dry slider is set up as one goes up.......the other goes down. Remove the lock symbol at the bottom to set them wherever."
JUST AN EXPERIMENT IN HOW TO APPROACH ADDING EFFECTS. PLEASE TELL ME IF THIS SOUNDS OK OR WEIRD OR WHATEVER
For what it is worth, I was doing an acapella song and wanted to have one mic pick up actual room presence, set far away. I then had two tracks. One had only very slight mid size room reverb and the room presence mic, placed farther away, I added large hall reverb. Then in mixing them, I panned near center for the main mic and panned far right for the room presence mic. So voice was caught on two mics from different positions. I guess I was making my own "dry" and "wet" this way. Since I am only me, my 12 or 6 string and an occasional additional harmony voice, or keyboard string, organ or flute and maybe some finger clicking, I don't use a lot of tracks anyway.
"If you have set up an aux bus in the modify outputs and busses menu option, you could add a general reverb to an aux." I read aboutthat. have not tried. Then the same reverb can be added to all instruments by varying amounts instead of wasting CPU placing 10 reverbs on 10 tracks."
Ok..will have to go back and read that.....
Last, two fundamental questions on effects...
COMPRESSOR BEFORE REVERB?
Ok, let's say I have voice on one track and guitar on the other.
BEcause my voice is powerful (trained as an opera singer, which sounds odd on fold songs, but occasionally I belt out a high part that peaks too high, even if I do the entire recording baked well away from the mics....unlike many pop singers who seem to be practically swallowing them!!!). I want to add some compression to the voice (but not the guitars). The question in genearl is, do I apply the compression to the voice before adding the dynamics (reverb for room size)? Is there a general rule?
My friend will master a CD I am making for CD Baby but he told me to add these effects sparingly myself to individual tracks.
In the above case where we have a general reverb, does the same thing hold?
SIMPLE COMPRESSIOn
The Apple ones here list 4 main types. Fast and Smooth. and
subcontrol analog gentle
Many online resoureces say that ifr the big compressor options are too much, just use these. But I can find no explanation of what these are and how they work. Like when to use X and when to use Y.
Fast and simple seems less noticeable... (good?)
REVERB EQUALS ECHO EQUALS EQUALS DELAY
I know these are different, but what I grew up calling echo (I am 54) seems to be called delay, yet when I add delay it just sounds different. Is it considered "wrong" to just use the room presence (medium room, etc.) reverb as my only "echo"? Maybe because I am an acoustic musician, I do not seem to require a lot of processing.
Thank you all.
paul
Oh, here are some old songs recorded badly with Garageband or from
casette tapes originally made on other analogue or digital equipment.
http://soundcllick.com/paularenson
- arenson
- Posts: 58
- Joined: Wed Dec 21, 2005 2:44 am
by MP » Tue Jan 09, 2007 12:31 am
Hi Paul,
Regarding your use of two mics (close mic and room mic), this can used to great affect, but be careful to avoid phase cancelation. The closer your mics are to each other, the greater the risk, but it can also happen when they're far appart. Phase cancelation can create a "hollow" effect and can also completely remove certain frequencies. Sometimes adjusting one of the mic's position slightly can correct the issue.
Using dynamic processing before or after reverb, well . . . it all depends on what you're trying to accomplish. Some people use a limiter to maximize levels and prevent clipping - in that case, I would use the effect as a track insert and send the resulting audio to a reverb located on an aux bus. Compression is mostly used to reduce dynamics and increase perceived loudness. In that case, I would generally apply the effect after the reverb. The advice you received about using dynamics processing sparingly was, in my opinion, good advice. Overdoing it can make your recording sound unnatural.
Rules and common practices aside, the best approach is often experimentation. Some of the most common practices used in audio production were "happy accidents," so move things around and let your ears decide.
Hmm, is it reverb, echo or delay? Well, they are all delay effects, to a degree. Reverb is generally used to describe the kind of natural ambience created by space, such as a room, hall, cathedral, etc. Reverb consists of many very short delays reacting to each other. Echo generally uses longer and fewer delays to create a recognizable "repeating" effect. A traditional echo usually fades away fairly quickly (like the slapback "Elvis" type of echo). An effect named "delay" usually covers everything from a natural echo to wildly artificial processing.
Wow, did you really read all of that? Hope it was as helpful as it was long.
Mike
Regarding your use of two mics (close mic and room mic), this can used to great affect, but be careful to avoid phase cancelation. The closer your mics are to each other, the greater the risk, but it can also happen when they're far appart. Phase cancelation can create a "hollow" effect and can also completely remove certain frequencies. Sometimes adjusting one of the mic's position slightly can correct the issue.
Using dynamic processing before or after reverb, well . . . it all depends on what you're trying to accomplish. Some people use a limiter to maximize levels and prevent clipping - in that case, I would use the effect as a track insert and send the resulting audio to a reverb located on an aux bus. Compression is mostly used to reduce dynamics and increase perceived loudness. In that case, I would generally apply the effect after the reverb. The advice you received about using dynamics processing sparingly was, in my opinion, good advice. Overdoing it can make your recording sound unnatural.
Rules and common practices aside, the best approach is often experimentation. Some of the most common practices used in audio production were "happy accidents," so move things around and let your ears decide.
Hmm, is it reverb, echo or delay? Well, they are all delay effects, to a degree. Reverb is generally used to describe the kind of natural ambience created by space, such as a room, hall, cathedral, etc. Reverb consists of many very short delays reacting to each other. Echo generally uses longer and fewer delays to create a recognizable "repeating" effect. A traditional echo usually fades away fairly quickly (like the slapback "Elvis" type of echo). An effect named "delay" usually covers everything from a natural echo to wildly artificial processing.
Wow, did you really read all of that? Hope it was as helpful as it was long.
Mike
- MP
- Posts: 81
- Joined: Mon Jul 04, 2005 11:22 am
Yes I read and it was helpful!!
by arenson » Wed Jan 10, 2007 2:53 am
Thank you!
A lot is experimentation....and I have been having good results.
On the mics, had the first 9 inches or so from lips, the other near the floor (I was facing downward anyway)m. about a yard away.
VOLUME LEVELS
And also surprises. While reading up on compression, etc. I have avoided high levels, ands using headphones connected to my FIREPOD. SOn speakers found the levels are too low. Probably can go and raise them, so won't worry. (If like Garageband). Better than too high.
REVERB JUST TO HEAR SELF BETTER BUT NOT RECORD
I wonder--should be possible--can I add room presence (reverb) just to listen as I record without recording the effect? What I mean is when I lay down a vocal and guitar it helps to hear myself. So far I use headphones, but thinking it makes me sing unnatually without the effect, which I add later (so far). So either a way to have the effect but not record it, just to hear myself better, or no headphones on record? What do others do?
My main dedication is to finding out how people use compression
On Apple (which uses the same multiband compressor it seems) I have found few insights into it, so I have written to a few audio podcast people who invite questions.
People have sent me some documents on general compression, which are helpful but in honesty, I find the links rough going. They are a bit too technical for me. And the lack of an Apple-reeference makes it doubly hard. But I will keep trying.
I keep wondering--what do most users think when they see the pre-sets.
Fast and Smooth, Analog, etc. Apple stuck them there (or someon)
Why are they there. What connotation exists in the terms fast and smooth, for example.
I know one can play around with them, and that you can tweak most things across 4 EQ bands.....
But no reference I have seen links general compression theory to that particular beast that is resident on METRO either.
Do people from live band experience using actual boxes do this stuff intuitively?
When I sent a song aay to a guy who was selling mastering services, he gave me advice about attack, etc. Whil i can sort of understand it after reading generic compression links, I kack enough info to help me bridge the general stuff and the plug-in used here and APPLE.
Until I understand, I will just lay down the tracks employing manual compression by backing away at the loudest sounds. My tendency is to shut down the vocal chords, but obviously that is not the best solution.
For example, the pro told me that my voice was too loud and drowned out the guitar （12－string bright), but that was also becuase I copied a track which already had reverb on it and added more reverb to the copeid track I think.
Still, when he says-->
medium attack and release,
a 1-2 ratio,
low threshold.....
I look at the 4 presets and wonder which is closest.
I then click edit and wonder wwhat a 1-2 ratio looks like for a medium attack and release, the same for low theshhold, etc.
And then, to do the same for all 4 bands.
All I know is that the 1st and last preset sound like I am singing into a toilet paper tube and the other two are barely inperceptible....
I am trying to cut the peaks due to my large vgocal range and operatic timbre, while letting the tremble of the othertrack guitars stand out.
Thanks
http://soundclick.com/paularenson
PS
May have more as I have been corresponding with a few pod cast producers who invited questions....
Will post what I have here when I get it.
A lot is experimentation....and I have been having good results.
On the mics, had the first 9 inches or so from lips, the other near the floor (I was facing downward anyway)m. about a yard away.
VOLUME LEVELS
And also surprises. While reading up on compression, etc. I have avoided high levels, ands using headphones connected to my FIREPOD. SOn speakers found the levels are too low. Probably can go and raise them, so won't worry. (If like Garageband). Better than too high.
REVERB JUST TO HEAR SELF BETTER BUT NOT RECORD
I wonder--should be possible--can I add room presence (reverb) just to listen as I record without recording the effect? What I mean is when I lay down a vocal and guitar it helps to hear myself. So far I use headphones, but thinking it makes me sing unnatually without the effect, which I add later (so far). So either a way to have the effect but not record it, just to hear myself better, or no headphones on record? What do others do?
My main dedication is to finding out how people use compression
On Apple (which uses the same multiband compressor it seems) I have found few insights into it, so I have written to a few audio podcast people who invite questions.
People have sent me some documents on general compression, which are helpful but in honesty, I find the links rough going. They are a bit too technical for me. And the lack of an Apple-reeference makes it doubly hard. But I will keep trying.
I keep wondering--what do most users think when they see the pre-sets.
Fast and Smooth, Analog, etc. Apple stuck them there (or someon)
Why are they there. What connotation exists in the terms fast and smooth, for example.
I know one can play around with them, and that you can tweak most things across 4 EQ bands.....
But no reference I have seen links general compression theory to that particular beast that is resident on METRO either.
Do people from live band experience using actual boxes do this stuff intuitively?
When I sent a song aay to a guy who was selling mastering services, he gave me advice about attack, etc. Whil i can sort of understand it after reading generic compression links, I kack enough info to help me bridge the general stuff and the plug-in used here and APPLE.
Until I understand, I will just lay down the tracks employing manual compression by backing away at the loudest sounds. My tendency is to shut down the vocal chords, but obviously that is not the best solution.
For example, the pro told me that my voice was too loud and drowned out the guitar （12－string bright), but that was also becuase I copied a track which already had reverb on it and added more reverb to the copeid track I think.
Still, when he says-->
medium attack and release,
a 1-2 ratio,
low threshold.....
I look at the 4 presets and wonder which is closest.
I then click edit and wonder wwhat a 1-2 ratio looks like for a medium attack and release, the same for low theshhold, etc.
And then, to do the same for all 4 bands.
All I know is that the 1st and last preset sound like I am singing into a toilet paper tube and the other two are barely inperceptible....
I am trying to cut the peaks due to my large vgocal range and operatic timbre, while letting the tremble of the othertrack guitars stand out.
Thanks
http://soundclick.com/paularenson
PS
May have more as I have been corresponding with a few pod cast producers who invited questions....
Will post what I have here when I get it.
- arenson
- Posts: 58
- Joined: Wed Dec 21, 2005 2:44 am
by MP » Wed Jan 10, 2007 8:56 am
Hi Paul,
Understanding dynamics processing terminology and technique takes some time and practice. Here's an article that attempts to explain the basics:
http://www.homerecordingconnection.com/ ... tory&id=13
Regarding your reverb question, it is always good practice to record your tracks dry (without reverb and other effects), then apply those effects in realtime using plugins. That way, you have the freedom to adjust the amount of effects applied during your mixdown. If you want to hear the effect while recording in Metro (but record dry), insert the plugin on the track or via an aux bus, then go to the Switches menu and make sure Software Audio Thru is checked. To reduce latency (the amount of time it takes the audio to pass through your computer and back to your headphones), go to the Setup menu and select Digital Audio, then Device Options and adjust the Audio Buffer Packet Size. Lower numbers reduce latency but make your computer's processor work harder, higher numbers work in the opposite way. When recording vocals, try 256. If your computer is struggling to keep up (or you get an error message in Metro), try upping it to 512.
Good luck!
Mike
Understanding dynamics processing terminology and technique takes some time and practice. Here's an article that attempts to explain the basics:
http://www.homerecordingconnection.com/ ... tory&id=13
Regarding your reverb question, it is always good practice to record your tracks dry (without reverb and other effects), then apply those effects in realtime using plugins. That way, you have the freedom to adjust the amount of effects applied during your mixdown. If you want to hear the effect while recording in Metro (but record dry), insert the plugin on the track or via an aux bus, then go to the Switches menu and make sure Software Audio Thru is checked. To reduce latency (the amount of time it takes the audio to pass through your computer and back to your headphones), go to the Setup menu and select Digital Audio, then Device Options and adjust the Audio Buffer Packet Size. Lower numbers reduce latency but make your computer's processor work harder, higher numbers work in the opposite way. When recording vocals, try 256. If your computer is struggling to keep up (or you get an error message in Metro), try upping it to 512.
Good luck!
Mike
- MP
- Posts: 81
- Joined: Mon Jul 04, 2005 11:22 am
by Scoot » Wed Jan 10, 2007 2:00 pm
If you had a REAL reverb (like a BOSS digital reverb) you could send reverb just to your headphones.
It is a funny thing - hearing such reverb while singing probably does make you sing better cause you hear yourself sounding so good.
It is a funny thing - hearing such reverb while singing probably does make you sing better cause you hear yourself sounding so good.
- Scoot
- Posts: 1124
- Joined: Tue Feb 11, 2003 10:50 pm
- Location: New Zealand
Boss?Coffee and music brand (Roland?) in Tokyo. In NJ-Bruce
by arenson » Thu Jan 11, 2007 9:40 am
Thanks! Lots of helpful info.
I also found this, which seems pretty clear so far.
Plan to make a big chart of main options so I can refer to it....
http://www.tweakheadz.com/guide.htm
I also found this, which seems pretty clear so far.
Plan to make a big chart of main options so I can refer to it....
http://www.tweakheadz.com/guide.htm
- arenson
- Posts: 58
- Joined: Wed Dec 21, 2005 2:44 am
by MP » Thu Jan 11, 2007 10:53 pm
Scoot, try holding the Boss Reverb in one hand and the coffee in the other - that way you won't spill!
Kidding aside Scoot, I'm rather fond of those pedals too.
Years ago, I remember seeing a reverb unit that had a spinning drum with some sort of liquid (not coffee) in it that generated the reverb effect. Very weird and it didn't sound that bad!
Mike
Kidding aside Scoot, I'm rather fond of those pedals too.
Years ago, I remember seeing a reverb unit that had a spinning drum with some sort of liquid (not coffee) in it that generated the reverb effect. Very weird and it didn't sound that bad!
Mike
- MP
- Posts: 81
- Joined: Mon Jul 04, 2005 11:22 am
Audio mixdown in prep for CD burning: muffled AIFF
by arenson » Mon Jan 15, 2007 8:51 am
Gradually coming up to speed with Metro (full version).
Secret is not to try to learn all the functions but to get the tracks recorded and then play around.
Ok, the most basic question involves saving/exporting/mixdown. When I try the following the resulting file played in ITunes sounds muffled. Played in Metro it sounds like original metro document file.
Recorded track description
1) About 5 stereo and mono audio tracks. (No Midi)
2) As I work in Metro I save.
3) As I listen I play around with the volume and pan of each individual track.
Then I am ready to create a final file for giving to the guy who will eventually master the CD. And then is when the FAQs do not seem clear to me.
QUESTION A
At this point i am not sure why I cannot just export to AIFF. Or can I?
And if I do, what sampling rate is being used?
QUESTION B
I am led to believe I have to choose Mix or Render Audio--TO FILE
44.1/24/1024 (the guy who will master my cd says that is better than
44.1/16----I am wondering if there is any basis for higher settings. It is me
on acoustic guitar plus a few keyboards, and a coupled of copied tracks with effects to create a more spacious sound.
MIX--->
This then creates an AIF file that sounds crappy in Itunes.
Or, if I skip the RENDER/MIX option and just go to EXPORT--> the same thing happens. An AIF file that sounds crappy.
Every files sounds fine in Metro.
QUESTION C
When recording I used Presonus Firefire for in and out. But it is inconvenient to have it on all the time as it does not output to speakers. So usually turn it off and then the sound goes to my speakers from the Apple. Is this a reason for the trouble? I tend to guess no, but....
SUMMARY and FINAL QUESTION E
Actually I am unclear about if or why we need to use RENDER/MIX as opposed to just EXPORT, but whatever, why is the sound different (very much) when choosing these options?
Final question--related to recording sessions.
On my presonus for Aigital Audio Setup The sample rate is now 44100 sample rate and 16 bits.
I could choose 48,000 88,200 or 96,000 and 24 or 36.
Is there any advanntage or disadvantage to recording at higher settings, and does this have to do with my final mixdown, which offers
the same choices (32 float is mentioned instead of 32 in render/mix)
Thank you and feel like I am ALMOST there....
paul
Secret is not to try to learn all the functions but to get the tracks recorded and then play around.
Ok, the most basic question involves saving/exporting/mixdown. When I try the following the resulting file played in ITunes sounds muffled. Played in Metro it sounds like original metro document file.
Recorded track description
1) About 5 stereo and mono audio tracks. (No Midi)
2) As I work in Metro I save.
3) As I listen I play around with the volume and pan of each individual track.
Then I am ready to create a final file for giving to the guy who will eventually master the CD. And then is when the FAQs do not seem clear to me.
QUESTION A
At this point i am not sure why I cannot just export to AIFF. Or can I?
And if I do, what sampling rate is being used?
QUESTION B
I am led to believe I have to choose Mix or Render Audio--TO FILE
44.1/24/1024 (the guy who will master my cd says that is better than
44.1/16----I am wondering if there is any basis for higher settings. It is me
on acoustic guitar plus a few keyboards, and a coupled of copied tracks with effects to create a more spacious sound.
MIX--->
This then creates an AIF file that sounds crappy in Itunes.
Or, if I skip the RENDER/MIX option and just go to EXPORT--> the same thing happens. An AIF file that sounds crappy.
Every files sounds fine in Metro.
QUESTION C
When recording I used Presonus Firefire for in and out. But it is inconvenient to have it on all the time as it does not output to speakers. So usually turn it off and then the sound goes to my speakers from the Apple. Is this a reason for the trouble? I tend to guess no, but....
SUMMARY and FINAL QUESTION E
Actually I am unclear about if or why we need to use RENDER/MIX as opposed to just EXPORT, but whatever, why is the sound different (very much) when choosing these options?
Final question--related to recording sessions.
On my presonus for Aigital Audio Setup The sample rate is now 44100 sample rate and 16 bits.
I could choose 48,000 88,200 or 96,000 and 24 or 36.
Is there any advanntage or disadvantage to recording at higher settings, and does this have to do with my final mixdown, which offers
the same choices (32 float is mentioned instead of 32 in render/mix)
Thank you and feel like I am ALMOST there....
paul
- arenson
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