In my humble opinion, Cockos REAPER is the best digital audio workstation software out there for recording and mixing. It’s not the best for editing (use Audacity or Adobe Audition for that) nor is it the best for virtual instrument recording.
What I love most about it is that it rarely crashes, you can throw nearly any file format at it and export a wide variety of formats and it barely takes up any hard drive space. It’s low price tag is another great thing but that is secondary to its stability.
I started using REAPER back in 2009 after frustrations with Adobe Audition and Pro Tools LE. Cockos REAPER simply worked. I liked the default look of version 3.0 but if I didn’t there are a lot of custom themes that fellow REAPER users have created. It’s a VERY customizable DAW!
Enough of that, if you want to dive into REAPER for the first time then I recommend watching this video:
This is a topic I covered more than once on Real Home Recording. It’s an important one and one that even experienced engineers may not fully understand. First, bit depth:
Bit depth is resolution…but that does not mean you can always hear it. The difference between 8-bit and 16-bit audio is very audible. That’s because the digital noise floor (which consists of digital quantization noise) sits at around -48 dBFS (decibels full scale). That is worse than the noise floor of a vinyl record!
Every bit of data is equal to around 6 decibels (abbreviated dB) of resolution. So, a 16 bit audio file has a a digital quantization noise floor at approximately -96 dBFS. This is much better than the best vinyl records and more than adequate for dynamic orchestral recordings. It is also below the noise floor of tape.
So, why did 24-bit audio (and 20 bit audio before it) enter the picture? Production. When you combine a bunch of 16-bit tracks, the digital noise floor can cumulatively cause audible noise. This forced engineers to “record to the top” of 16-bit recording devices to avoid that problem. This introduced further problems with nasty digital distortion AKA clipping and (transient killing) analog saturation.
When 20 bit recorders were released, the noise floor sat at -120 dBFS. This allowed recording engineers to set input signals at around -20 dBFS which gave them more headroom. Transients were preserved without clipping and with a lower digital noise floor.
Truth be told, 20 bit audio would be the ideal recording format (since it uses less storage space) if not for computers being able to calculate 24-bits of audio better. Or at least that’s what I’ve been told.
Some DAWs may give you a 32-bit option. Don’t bother. It’s a waste of space and has zero benefit. Only use the 32-bit floating point (FP) format as an intermediate format. Uses include track/buss bounces, mixdowns and master files.
24-bit audio when it comes to delivery formats is a waste of space. 16-bit audio more than does the job but some audiophiles insist on it. So if they are willing to spend more money on 24-bit files I say go for it. I went into depth on these topics in the following videos, in case you want to learn more:
Now as for sample rate, this one is a bit more complicated and controversial.
The too long didn’t read version is capture audio at 96 kHz because it is supported by the most amount of plugins and interfaces. Its benefits lie in digital signal processing, not in audible frequencies. Latency is also reduced between 44.1 kHz and 96 kHz recordings. Above 96 kHz is a waste of space.
The more in depth explanation is that recording at 44.1 kHz usually isn’t good enough, especially on cheaper audio interfaces. The transition band (the area where the signal gradually rolls off at the top frequencies) is too close to Nyquist and many plugins require oversampling to function properly. It is best to use 88.2 kHz or 96 kHz for more overhead. There won’t be a direct audio difference upon capture but once plugins begin crunching the ones and zeros they will have more data to work with.
To me, mixing with 96 kHz simply sounds “sweeter” or more “analog”. Plugins that make use of pitch/time stretch (Auto Tune/Melodyne), time domain variables such as compressors (including de-essers and dynamic equalizers), guitar amp simulators and certain equalizers (particularly in the upper frequency ranges) benefit the most. If you use Acustica Audio plugins, they are natively sampled at 96 kHz.
It’s the year 2017. Processors are very fast (Intel’s i7 7700K is a beast at just $325) and hard drive space is cheap. There is little reason to NOT use 96 kHz while recording. It’s a shame that more virtual instrument libraries aren’t 96 kHz.
The old “avoid sample rate conversion at all costs” argument is null these days because converters are very good. I personally recommend Voxengo r8brain (free) or r8brain pro in minimum phase mode. The SoX sample rate converter that can be found in Audacity or as a command line program (if you are good with old school software) is also very nice.
As for delivery sample rates though? My suggestion is to go to 48 kHz. I explain how I reached this conclusion in this video:
I go into more detail about production formats vs. delivery formats in this video:
So, the bottom line:
• Record at 24-bit integer and 96 kHz sample rate broadcast wave or AIFF.
• Mix at 24-bit/96 kHz.
• Mix down, bounce and master to 32-bit floating point 96 kHz.
• Deliver at 16-bit integer 48 kHz FLAC*. Sample rate convert with Voxengo r8brain or SoX. Then AFTER sample rate conversion use either iZotope MBit+ (built into their Ozone plugin) or Airwindows Not Just Another Dither/CD.
*The only exception is when creating MP3/AAC lossy codec files. In this case, changing bit depth isn’t necessary. For sample rate, use 44.1 kHz. For the Opus codec (which hopefully becomes the standard one day) use 48 kHz because that is the only sample rate that it currently supports.
Back when I produced this video, there were already several YouTube videos on this subject. It almost wasn’t made for that reason but my goal starting around the end of 2015 was to complete the video library and this was an obvious one.
I honestly did not think many people would bother watching it. However, it has since become one of the most popular videos on Real Home Recording.
It’s packed with information that not only applies to the analog world but also digital as well. If you understand how a mixing board works then in the box mixing later on helps more. Terms like inserts, sends, busses and auxiliary outputs play a role.
If you send links to these two videos to your customers BEFORE they come into the studio, I guarantee that the sessions will run a lot more smoothly than if you didn’t:
Thanks to Glenn Fricker for these excellent videos!
In comedian/model Nicole Arbour’s new video, she talks about college. Let’s just say, she is on the side of DGTRS: https://www.facebook.com/NicoleArbourfans/videos/10156588526217907/
This web site is all about teaching readers how to become an audio engineer and running a recording studio business. However, the first lesson of this site is that it is a VERY tough business.
I cannot stress enough how difficult it is to run a successful studio. There simply aren’t enough customers going around. Exhibit M: Mix with the Masters.
Here you have legendary audio recording and mixing engineers giving away their secrets for a few thousand dollars per student. Why do you think they are doing this? BECAUSE THEY HAVE BILLS TO PAY AND NOT ENOUGH INCOME FROM THEIR REGULAR BUSINESS TO PAY THOSE BILLS! THAT’S WHY!
I think MWTM is a great educational site. A lot better than this one, in fact. But…you have to read the subtext. If you are creating audio/music for a hobby, that’s fine. But if you are thinking about making a career in audio…look at the writing on the wall! If top pros with big credits to their names are struggling to make ends meet, that says it all right there.
No doubt, many big name engineers saw the writing on the wall as well. They saw how much money colleges and trade schools were making teaching people how to become audio engineers. And they wanted a piece of that pie.
The domain name mixwiththemasters.com is registered to
STUDIOSLAFABRIQUE
118 Route Des Jardins
SAINT REMY DE PROVENCE
13210 FR
maxime.leguil at gmail dot com (typed out so spam bots don’t pick up on that e-mail address)That information was obtained from public records at https://whois.icann.org
Studios La Fabrique is where MWTM seminars are held at. Make no mistake, they have a beautiful facility. At a membership cost of over $300 per year on top of the $3,000-4,000 cost of in person seminars (which they don’t disclose on their web site, you have to “apply” and get “accepted” to get pricing information but I obtained via https://www.gofundme.com/eueu8cy4) not including the price of the plane ticket. Size is limited to 13 people so $3,500 = $45,500. Even after room and board expenses are covered by La Fabrique, that’s still a pretty WEEKLY profit!
Again, I appreciate what Mix with the Masters does, but everyone must look at what’s going on here. Engineers who are very busy with work would not have the time to fly to France and teach other people their trade secrets.
Recently I released a four part video series on the basics of Pro Tools First version 12.8. This information also applies to the full, paid versions of Pro Tools 12.
Here is a copy and paste of the script:
This is a tutorial mainly for people who are familiar with other digital audio workstation software. I won’t explain what every little thing is as to not waste time. Shortcut keys are also for Windows users…Mac users will have to translate. I will not go into detail about what everything means. These are the need to know basics to record, edit and mix.
Change Sample Rate: Click X on the first window (labeled Dashboard). Then Setup> Playback Engine.
Create New Project: Uncheck create from template. Name your project and click
Edit vs. Mix windows. Control + = (equals) to switch between the two. Get used to this shortcut because you will use it a lot unless you have two computer screens.
Adding New Tracks: Double click in the blank areas or Control-Shift-N. Audio track and samples. Samples vs. Ticks option: Audio gets samples, MIDI gets ticks.
Rename Tracks: Double click on the name. Type in the name and then click Next.
Track Color: Far left, look for a vertical blue strip. Double click it.
Moving tracks up and down. Grab by the track name and drag. Control or shift to select multiple tracks at once. Resizing tracks: A few ways to do it. Grab the edges and drag. Or left click the gray bar to the left of the Waveform. Choose a preset size there.
Alt-Click on the information column names (to the left of the waveforms) to hide them. To bring them back, click the piano looking icon at the upper left.
Show Master Fader: You need to add it manually. Yep. I don’t know why Avid never made this a default but there you have it. New Track (control-shift-N) and Stereo Master Fader.
Go to Start: Enter key
Selecting inputs: Button right next to edit area. Remember to change this to No input after recording because PT First limits the amount of inputs to a total of 4 at any given time.
Change Tempo: In transport, Click number next to music note. Press T for tap tempo. Or, Event> Tempo Operations
Enable metronome: Track menu> Create Click Track. Then, in the Click Track inserts click the letter C for a bunch of options. You can have the classic Pro Tools click track or a lot of different options.
Setting up Musician’s Mixes aka Cue Mix: Create Aux Input tracks, change input to Bus 1-2. View sends by clicking upper left keyboard looking button (under left side Tempo arrow) On original track, create a send under the Mix window. Adjust fader volume. Change Output of Aux track to interface’s different outputs.
Enable Count Off: Look for the green letters above Tempo in the Transport. Click it.
Record enable is the circle on the far left of each track. To record, press Control + Spacebar. Or 3 in the number pad. Or click the big record button on the transport area then press play.
Punch-in Recording aka Auto Punch: Right-click record button.
Loop Recording: Right-click record button. To see takes, right click then Matching Alternates.
Loop Playback: Options menu or Control-Shift-L Then make your loop selection. You can also right click the Play button and change it that way.
Recording at half speed: Record down one full octave. Shift + Control and click the play button.
Options> Edit Window Scrolling
File> Import or Control + Shift + i. Pro Tools supports dragging and dropping files from Windows Explorer but only if they are in the same sample rate as the project.
Zoom: Hold the Alt Key and use the mouse scrollwheel. Or, Control + right bracket ( ] ) or left bracket. Use the zoom tool or bottom right there is a slider.
Zoom Waveform (like Shift + up/down arrows in REAPER): Far right of the top track in Edit window, look for a double arrow icon (really, it’s two waveforms). Click the top half to increase or lower half to decrease waveform zoom.
To zoom out to your entire timeline press Shift and double click the Zoom Tool.
Scroll around horizontally: Shift + mouse scroll wheel
Mute and Solo: Easy. S and M buttons.
Bypass plugin: Control click the insert name. You can also right click on insert name or within the plugin there is a Bypass text button.
Delete plugin: Right click to the left and pick No insert.
Sidechain: I believe it’s called Key input.
Panning:
Basic Editing
Grid Mode is useful for Editing.
Undo: Control + Z Split Clips: Control + E (for Edit)
Heal Clips: Control + H or Edit menu > Heal Separation
Duplicate clip: Make selection, Control-D
When editing, the Selector Tool is your friend. Choose it with F7. Shuffle mode is also useful.
Trimming the edges.
Hold control when dragging parameters for more precision.
Fade in/out: Upper left or upper right of a clip’s edges.
Cross fade: With smart tool selected, go towards the bottom of where two clip edges meet and drag. Right click menu > Fades for options. In the middle (fade icon appears) you can drag around to change the fade shape on the clip as well. Also, Edit menu > Fades for even more complex options. Alt click to reset to default.
You can also add a fade or cross fade by selecting a clip or multiple clips’ start and end. Then press Control – F.
Time stretch AKA Slow down/speed up clips. Click and hold on the left Smart Tool tool. By default it is the Trim Tool. Change it to TCE which stands for Time Compression/Expansion. To change a song’s tempo, change the tempo in the transport. Then switch to Grid mode, change to 1/4 note (in transport, next to Grid) and make snap to edits that way.
Elastic Audio options: In the automation area, look for the default Polyphonic. For voices, change to monophonic. For drums, change to Rhythmic.
Speed manipulation: Change Waveform view to Analysis. Adjust markers. Alt click to delete. Control + double click to add. On drums, look for transients. Then switch to Warp view. Control – double click to add Warp markers. This is the way to move drum hits around.
Delete a Track: Right click the track name (far left) and choose delete. You can select multiple tracks by holding shift and then Track menu> Delete. Be careful, once a track is deleted you cannot undo.
Change Pitch: Select a clip. Clip menu> Elastic Properties.
Or AudioSuite–>Pitch Shift–>Time Shift. Select audio that you want changed. Make appropriate edits first. Change pitch knob. Bottom Left to preview. Bottom right to render.
Reverse a clip: Audiosuite menu > Other > Reverse.
Add plugins AKA inserts:
Create Sync Point: Control-comma.
Markers: To add, select the time that you want to add the marker. Then click the + sign next to Markers at the top.
For a list, in full Pro Tools > Window > Memory Locations.
Snapping ON/OFF: Use grid mode.
Grid lines on/off: Click Grid in the transport.
Freezing Tracks: Look for the snowflake button.
Clip Volume: Change from Waveform to Volume View (far left). Hold control for precision.
How to Add Automation: Look for Auto Read. To the left is a drop down arrow. This will open what is called an automation lane. To change the parameter, which by default is volume, click the name Volume.
You can write automation in the Mix or Edit views. In Edit view, look for vol and Pan. Click and hold to write automation. Hold Control key for precision moves, since the fader is so small.
Sends can be automated as well. Same for plugins…just use any of their controls write Automation Write is enabled, just like the fader. If for some reason a plugin parameter isn’t visible, open up the plugin and look for Auto. Click the button underneath it to pull up the list.
Then change Auto Read by clicking it then changing it to the automation mode to Write. After one pass, switch it to Latch mode. When finished, switch it back to Auto Read and click the drop down arrow again to hide the lane.
To edit, change to the Pencil tool (far right, next to grabber hand icon). Hold Alt key to erase. Then switch back to the Smart Tool and with the pointer finger hold shift on the circles while holding control for precision vertical edits.
File> Save Copy In is a great archiving feature.
MIDI Basics
Setup menu > MIDI Input Devices.
Setup menu > MIDI Input Filter
Add a new Instrument track with Ticks. MIDI Tracks are outdated. Otherwise, you need to create an AUX send to use virtual instruments.
On Mix or Edit window select I/O to make sure the correct device is selected.
Window menu> MIDI Editor and MIDI Event List are important.
In the transport menu, find Grid underneath the big time code. Click the drop down arrow to the right to change the value for MIDI editing.
Inserts>Instrument >Xpand and then under Presets where it says Factory Default pick your instrument AKA patch. You can also click the button to the left of COMPARE.
Then click the instrument name that is in green text for more options.
Recording MIDI works the same as recording regular audio. Record enable. Then click record on the transport then play. Or, just press Control + Spacebar or number 3 on the keypad.
To edit MIDI, double click a sequence (MIDI clip). To zoom in vertically, it’s the same button as zooming waveforms.
Event menu> Event Operations > Quantize. Or Alt-0 (number zero)
Change note velocity, look at the bottom.
Use grid editing or hold Control when moving notes.
To minimize the MIDI editor click the name at the top left, above the notes.
MIDI cheating: Create a MIDI track/play a few notes. Expand the sequencing area. Event menu > Event operations > Step input.
Add a MIDI note: Hold control (creates a pencil icon) and start drawing notes.
Change Time from Bars/beats to timecode: In transport, click drop down arrow next to large time.
MIDI Editing.
Shuffle vs. Slip Mode: Has to do with the trim function.
Rename Clip: Double click with grabber (hand icon) and type a new name.
Repeat a Clip: Alt + R.
Clip Loop: Clip menu> Loop or Control-Alt-L
Pro Tools Mixing
Routing: To create a send, make a new track. Then on the I/O part change it to a bus. Then the question is, do you want your original tracks to only route through the sends or create a duplicate parallel signal as well? If just through the send, change the track output to Bus. If parallel, put the Bus on a send.
You’ll need to choose how much volume and panning that is sent to the buss.
Need more sends? Go to the View menu and display more in either the Edit or Mix windows.
In the full version of Pro Tools, you can rename the Buses.
Add a plugin preset: Next to Preset, click the drop down arrow. Save Setting As…
To open multiple plugin windows, find the Red square called the Target button. Click it and the window remains open. Then click another plugin insert. drag that away from the previous plugin window to reveal it.
Duplicate a plugin: Alt and drag
Printing Tracks to Save CPU: Create a new track. Assign its insert to a bus. Assign outputs of the tracks that you want to print to that bus. Record enable the bus track and record. Tracks = printed. Then mute the original tracks and deactivate their plugins by right clicking and Make inactive. Control clicking to Bypass also works.
Mixing music for just local musicians is a thing of the past. Someone in China could get an audio engineer in the United States to mix their music. Remote mixing and recording has been around for awhile but there have always been issues with latency (audio delay) and audio quality.
Enter Audiomovers Listento plugin/service.
This plugin allows you to stream high quality, near zero latency audio to a web browser. I tested it with a guy in Germany and it worked remarkably well.
Watch this Real Home Recording video for more information on this game changing product:
