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First Year Pro Tools

Pro Tools – Lesson 1

1. Name and describe five types of production tasks that ProTools can be used for. – 1 Audio Processing, 2 MIDI Production, 3 Notation and Scores, 4 Mixing and Automation, 5 Audio for Video and Post-production

2.What’s the frequency range of human hearing? –  20Hz – 20Khz

3. What does the frequency of a sound wave affect in terms of how we perceive the sound? How is frequency measured? –  Pitch. Cycles per second (CPS) / Hertz (Hz)

4. What does the amplitude of the sound wave affect? How is amplitude measured? – Loudness / Volume. Decibels (db)

5. How does the sample rate of a system relate to the frequency of audio it can capture? What is the name of the law that specifies the relationship between sample rate and audio frequency? – The sample rate of a system should be twice the frequency of audio it is required to capture. Nyquist theorum

6. How does the bit depth relate to the dynamic range of audio it can capture. How can you estimate the dynamic range of a system? – The more binary digits included in the bit depth, the greater the accuracy of each sample measurement. For example a 4-bit word (2 to the 4th power) can represent 16 discrete amplitude levels. A 16-bit word could represent 65, 536 levels (2 to the 16) and a 24-bit work can define more than 16 million discrete amplitude levels (2 to the 24)

You can estimate the dynamic range of a system by multiplying by 6.

e.g. an 8-bit system would produce a dynamic range of 8 x 6 = 48b. 16-bit = 96dB (16 x 6) and 24-bit = 144dB (24 x 6)

Note: 16-bit / 44.1Khz mono = 5MB per minute, 16-bit 96-Khz mono = 11MB per minute. 24-bit/44.1kHz mono 7.5MB per minute, 32-bit/44.1Khz = 10 MB per minute.

7. What are some common digital connections available on Pro Tools audio interfaces? What type of connector jack does each use? – S/ PDIF (Sony/Philips Digital Interface) which uses RCA (a.k.a. coaxial) and AES / EBU (Audio Engineering Society /European Broadcast Union) that uses XLR. The latter is preferable as it is technically more stable and filters out any copy protection encoded in the digital audio stream. Also S/PDIF is consumer grade.

8. Name some audio interfaces that are compatible with standard Pro Tools software. –  Any audio interface with Core Audio (Mac) or ASIO (Windows) drivers

9. Name some Avid audio interfaces that are compatible with Pro Tools | Ultimate software. –  Pro Tools | HD OMNI, Pro Tools | HD I/O, Pro Tools | HD MADI, Pro Tools | HD MTRX, Pro Tools | HD MTRX Studio

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First Year Visiting Practitioners

Richard Pheonix – Visiting Practioner

During Richard’s talk, he mentioned his work within different variations of disability groups and music bands. He expressed his shock when he first visited a punk rock gig for people with learning difficulties. This being his first-ever interaction within this environment he talked about how incredible and unique the music and the experience was. I went away and thought about this concept in great depth. Human positionality depicts their genre and area of music- however, it does not mean it’s the only thing you will ever like or know! So don’t settle! Richard’s previous experiences in the music scene prior to this were underground rock bands. Despite this being the same genre this was still a completely unique experience due to its members and the environment in which the gig was held. Music has no barrier or class structure, yet humans decide to put one there. Why should one genre decide your life path, attitude, fashion, or personality? This brought my attention to the music scene in the ’80s where “mods” and “rockers” formed a full physical and mental divide truly based on their genre of music. Richard’s interactions and close interest in disability music prove to me that despite your positionality genres and barriers can be knocked down as it is us who create them. Music can not always be liked by everyone but opinions over the years have formed blockades within society even on things that are entirely away from the music. I learned from this to never position myself within one area of music and to continue through life with an open ear to sound and music. Not allowing music to control you as a being but only to teach you is something that many people should think about. Positionality forms you as a person and what you surround yourself with. However, barriers should not be formed because of this.

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First Year Pro Tools Uncategorised

Pro Tools – Lesson 5

1.) How much disk space is consumed per minute by a mono track at a sample rate of 44.1 kHz and a bit depth of 16-bit? What happens to disk space consumption if the sample rate is doubled to 88.2 kHz with the same bit depth? – Approx. 5 MB storage; it doubles to approx -Sample rate of 44.1kHz: Each track consumes approx. 5MB of disk space per minute for 16 bit audio (mono).

2.) How can you monitor the storage space available on your system to determine the amount of record time remaining for each mounted drive? – monitor storage space and estimate the amount of available record time remaining for your project using the Disk Usage Window.

3.) How can you create a click track for a session? What kind of track is used for a click track? – TRACK > CREATE CLICK TRACK – Auxillery Track

4.) What window(s) can you use to record-enable an Audio track? – Edit Window, and Mix Window

5.) What selector can you use to route a signal from an input on your interface to a track for recording? – Audio Input Path Selector, (I/O Section)

6.) How can you adjust the input level going to a record-enabled track? Can you use the Volume Fader to achieve a strong signal going to disk? – Can be adjusted on the audio interface or the pre-I/O signal processing – Basically use the pre-amp gains

Although a track’s Volume Fader can be used to increase or decrease playback levels, the Volume Fader does NOT affect record levels. Therefore No

7.) How can you place a session in Record Ready mode after record-enabling a track? What modifiers/shortcuts are available to initiate recording without first entering Record Ready mode? –

WINDOW > TRANSPORT – Click the button

Command+Space Bar

Fn+F12

8.) Where are recorded audio files stored for Pro Tools sessions? –

Clip List

Track Playlist

Also stored in the Audio Files Folder within the Session Folder

9.) What term is used to describe an unedited audio file in Pro Tools? What term is used to describe the smaller, edited pieces of the original sound file? –

Whole-file Clip

Subset Clip

10.) What types of clips are represented by boldface text in the Clip List? What type is represented by normal (plain) text? –

– Whole-file clip/Parent Clip

– Subset clip

11.) How do track names affect the default names of the audio files you record in Pro Tools? – Pro Tools names the resulting file (a whole-file clip) using the name of the Audio track followed by an underscore and the take number (a sequential number based on the number of times you’ve recorded on that track).

12.) Describe two ways to rename an audio file after recording into Pro Tools.-

– Double click the file or clip in the edit window (with the grabber tool) or in the clip list

– Right click on the file or clip in the Edit Window or Clip List and select RENAME from the pop-up menu.

13.) How would you go about removing unwanted audio from the Clip List without deleting the files from disk? –

– To select multiple clips, COMMAND+CLICK on clips individually

– To select a continuous range, click on the first clip in the range and SHIFT+CLICK on the last clip

2. 

– Choose CLEAR from the Clip List pop-up menu

3.

– In the resulting Clear Clips dialogue box, click REMOVE to remove the clips from the session, while leaving all parent audio files on the hard drive.

14.) How would you go about deleting unused whole-file clips to erase them from your hard drive? Can this action be undone? –

1.

– To select multiple clips, COMMAND+CLICK on clips individually

– To select a continuous range, click on the first clip in the range and SHIFT+CLICK on the last clip

2. 

– Choose CLEAR from the Clip List pop-up menu

3.

– In the resulting Clear Clips dialogue box, click MOVE TO TRASH or DELETE to remove the clips from the clip list AND remove or delete any selected parent audio files from your hard drive.

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First Year Thinking & Doing Sound

Does Sight Effect Sound?

I recently visited the LUX New Wave of Contemporary Art at 180 The Strand. The exhibition focused upon how light and colour can affect the human being and their perception of reality. Every piece came along with a sound installation which got me thinking. The first room I entered (“I Can’t Breathe”) was 7 electrical screens surrounding you with visuals of a choir singing. Despite the words and the name of the piece being oppressive and negative, the sound was extremely soothing and peaceful. Its tranquillity resonated due to its surrounding speakers making you feel as though you were being embraced by the sound itself. This brought an extremely calming sensation to the room which contrasted with the juxtaposing lyrics “I can’t breathe”. However, despite the sound having such a calming effect I often wondered whether the bright warm coloured visual enhanced this effect. On the screens, they presented images taken from the choir in the church which were slowed down. Its tampered speed highlighted serenity and peace with no impression of rush. Big bursts of warm natural light hit the camera and the choir bringing a sense of unity and spirituality. Its angelic aesthetic in which the camera captured brought the same effect as the sound; calm and a fulfilled surrounded protection. When both mediums are put as one do they affect one another by heightening the mood it is trying to portray? If the sound is taken from that piece was filled with contrasting images of dark and ominous visuals; would we hear something different? 

This idea was furthered in the next room I visited. A more visual piece- here was a long blank wall with a strand of projected light. Mirrors on either side helped magnify its everlasting effect. The colours would change from Purple, Green, Yellow, Red and Blue. When colder colours such as Blue or Purple would hit the screen it would play a high frequency pitched note that would ring as if it was “everlasting”. In contrast when the screen would project warmer colours (red and yellow) the frequency would drop to a lower pitch note. The sound affected how you viewed the colours. High pitched frequency would give a strong sense of high energy and chaos. My memory played a part in this and made me refer to the atmosphere as weather and temperature (I thought about cold wind whistling). With the colder colours to add to this, it gave a taste of icy uncertainty. Whereas the lower frequency sounds would give a more sluggish, heavy sensation like being in warm heat. I once again asked myself the question what if the visuals and sound would have swapped? What effect would it then give me? The cold colours which before gave me high energy against a low frequency could have given an ominous and oppressive impression. Whereas the high-frequency sounds against the warmer colours could have given a burning intensity perception which juxtaposes the sloth-like laziness it gave when against low frequency. 

As a whole, I realised that although sight does affect how you hear something, sound also affects how you see something. No medium is stronger than the other and in fact, they work together hand in hand. These questions made me realise how I would like to present my work. Image and sound as mediums really do affect one another and the atmosphere they can create as a whole. Due to our memory and relative thinking, we put images and sound together to create a specific sense of feeling. I would like to play upon this when presenting my work to ensure I create the right mood I intend to create. Finally, to expand on this I would also like to incorporate other sensory mediums such as temperature and touch.  

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First Year Thinking & Doing Sound

Letting The Environment Be The Instrument

When listening to the field recordings I noticed a contrast between people playing the environment and people allowing the environment to play themselves. Both are equally positives however I am personally drawn to the environment playing itself. The first was a contact mic strapped to a metal tube while someone banged the material to create noise. However, the second was the recording taken from the exact same place and method however the material was left alone. As humans, we feel a constant need to dominate an environment. In regards to sound, we constantly have the urge to create sound and be the composer. This is toxic in my eyes as we block out the natural sounds and attributes of our surroundings. This is a reflection upon life and how as human beings we think that taking control and being the leader of the environment is what produces the best results. From these reflections, I will no longer constantly feel the need to be the instrument – especially when it comes to recording sound. We should accept and appreciate what is around us and not feel the need to tamper with this. Sometimes being the observer hands you a better outcome than it does to be the show. You can learn from watching and listening despite the fact humans block this out every single day. Being at one with our natural resources and environment cam and will teach you more. 

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First Year Thinking & Doing Sound

Sound In Britain – Is Art Work? Should It Be Free?

Should Art be Free?

While reading Toop’s, and Parkinson’s (2020) ’Unfinished Business: A Conversation on Sound Art in the United Kingdom’ interview it posed to me whether or not art should be work or instead, an instinct. Living in the western world of capitalism surrounded by a drive to work, our society is taught to make money. It becomes our “instinct” to create funds but for an artist should their “instinct” not be to create? I want to address the issues of being an artist within western cultures and the problems faced along the way.

To live freely within the United Kingdom we are bound down to the fact you need money to live. Toop refers to the culture of sound art as “Problematic”. His reference gives strong reflection to the economy of the art world. With Art buying being the biggest tax evasion within our western economy, many could argue this only forces the problem even further. Art’s high prices and status brings only one section of society to auction – the rich! With the rich buying art and making profit avoiding by tax, this creates an issue for many artist’s. Should their art be used for making a profit? Many could argue that this economical viewpoint takes away the focus on art and beauty its self. It’s aesthetic of the piece is shadowed by the looming force of money. This brings me back to whether or not art should even be sold at all? By selling the piece it feeds the economical morality towards the business. Only a few people gain from this and the artist themselves are not always one of them. 

However, without the auction, the artist would not make a living. With the westernised expectations to succeed we are continuously forced to make money.  Art not only costs to buy but also costs to sell. Materials and workspaces are not free; building up a budget for what we can and can’t create. This juxtaposes the idea that art shouldn’t be sold as it doesn’t count for the fact the artist may not even be able to create in the first place. With no income many artists would be left penniless meaning they’re unable to fund their creativity. Within the interview, Toop explains how sound art used to be referred to as “Sound Work”. This supports the idea that Art should be sold as it is a career rather than a vocation. Although on the other hand, the way he refers to the world as “problematic” creates many contrasting ideas to the rest of his points. By referring to his practice as “work” this westernises his artistic process giving it a new meaning but to create money. Art should be natural and a process that is free. Using the word “work” makes it seem like toil or hardship that is forced upon us to survive. Similarly to where art creates profit, his reference supports the idea that the economical world of art is hiding its beauty and purpose.

In reflection on this, I support the argument that making art can be “hard work” however in many cases it can not always be referred to as work. It is a lifelong practice. I hope to take this with me through my creative process and use this drive to focus my purpose of the art on its meaning and beauty and never on its price. 

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First Year Pro Tools

Pro Tools – Lesson 2

1.) Name some of the folders and files that ProTools creates as part of the session hierarchy. Where is the session file (. ptx) stored?

  • Audio Files
  • Clip Groups
  • Session File Backups
  • Bounce Files
  • Video Files
  • (all in session folder)

2.) What is the WaveCache.wtm file used for? What happens if the WaveCache file gets deleted or goes missing?

  • Stores all waveform displays
  • If it gets deleted it will create a new one next time you open ProTools

3.) Where are audio files stored in the session hierarchy?

  • Saved separately inside the corresponding session’s Audio Files Folder

4.) Where are Pro Tool’s is MIDI files normally stored?

  • Stored within the Pro Tools Session 

5.) Which components should you turn on first when powering up a Pro Tools system? Which component should you turn on last? 

  • External Hard Drive first
  • Computer Speakers last

6.) What type of processing does the hardware buffer size affect? What type of processing does it not affect?

  • Affects it’s host – based processing capacity
  • Does not affect the DSP processing

7.) What kinds of commands can be found under the ProTools View menu? How does the view menu differ from the window menu?

  • How windows, tracks and track data are displayed
  • View effect how windows are displayed
  • Window – Hide – Arrange the entire window

8.) What kind of commands can be found under the ProTools Options menu? How does the options menu differ from the setup menu?

  • Commands = select several editing, recording, monitoring, playback, and display options
  • Setup menu= oppositions the involve multiple settings

9.) Which main Pro Tools window displays audio waveforms and can be used to work directly with audio, MIDI, and video files on tracks?

  • The edit window

10.) Which ProTools window provides access to Pan controls and Volume faders for each track?

  • The Mix Window
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First Year Thinking & Doing Sound

Walking Blind

The other day we went on an experimental lecture through the woods; blind folded! We were visionally disconnected to the world which made us focus on our audible sensory. While writing down the sounds we experienced I learnt something fascinating about the way the mind and the ears connect…

While on the walk we were led through dangerous and unnerving routes. This heightened my nerves and made me feel extremely tense. What amazed me was that although geographically I was in the same place- my brain chose to hear another! When scared I heard different sounds and my audible visioning was panning into other sounds. My focus was survival rather than pleasure. While I was relaxed I would hear easier things such as wind and trees in juxtaposition to approaching footsteps or dog’s barking when I scared.

I decided to focus in on this and use this for my work. When blindfolded the sounds of my surroundings were automatically heightened. This began to create a whole entire emotion and feeling just through sound. I plan to blindfold my viewers when presenting my sound in order for them to experience my piece at its best. My experiences taught me that harder sounds create more feeling. This encourages me to create uneasy listening for my work; in order to get maximum emotive responses. 

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First Year Thinking & Doing Sound

What Is Sound Art?

What is Sound Art? – 05.10.21

Today we were asked to break down and form an Ontology of Sound Art. Although this practice could take years (if not forever!) to find the answer, I believe I have found a happy medium in which I can continue my creative process towards the future. Basing back on the studies shown on Sam Auinger I continued the idea that ‘Sound Art’ was creating noise into something worth listening to; in order to evoke emotion or feeling. We touched upon the basis of positionality and how it is this which shapes not only the art you create but also the art you listen and connect to; e.g. your race, culture, heritage, age, gender, religion, etc… This for me was an interesting concept as it apposed the question of what actually is sound art subjective snd objectively. Some members of the class stated that it is sound that was “intentionally made”. However once again linking back to Sam Auinger’s work on urban planning he uses traffic noises, which I am sure drivers had no intention of making art. Others in the class also stated that music is not sound art. This I disagree with entirely! To me, my subjective point of view on sound art is that any sound ever can be made into art and who is to decipher whether it fits into the category of “sound art” or “sound”. A common example used was a bird singing or other animals creating animal noises. To one that may just be sound whereas to others that can be sound art, or in some senses music! Although I agree music follows more traditional concepts such as musicality, rhythm, and melody; an array of organised sound. However, this does not mean it can not be sound art. This phrase overlaps into so many genres and I don’t believe there is one set answer. When recently watching a documentary on the making of ‘Sgt. Pepper’s Lonely Hearts Club Band’ – The Beatles, it was described that during the bridge of ‘A Day In The Life’ the orchestra was told to play any random notes so long as they didn’t correspond to the person sat next to them. This reflects the idea that although it is widely known as music it is not organised and could be used as an idea or concept as sound art. This piece for me uses sound to create and evoke so much emotion and feeling which is what I believe sound art does. So can I not call it sound art yet? It uses sound as the medium to tackle someone’s feelings based on their positionality and contextual background. Similarly, Sound Art for the screen is a commonly used practice, however, does this give composers such as Hans Zimmer the right to be called a “Sound Artist” or do they just create organise music.  Although one should be known as what one wants it to be known as – to me there is no differentially between the two. Sound Art is the tree and their style or genres are the branches and the leaves. I look to approach and use this theory within my future work and hope to develop a sound that creates feeling and touches someone based on the context and subjectiveness of the piece. I don’t believe in restricting any sound from the subject as “Sound Art” and hope to continue this in the most unique and creative way I possibly can. Any sound can be sound art it’s just whether or not it suits your positionality.

“Sound Art is an art that can be heard”- Tate

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First Year Visiting Practitioners

Sam Auinger – Harmonic Bridge

Sam Auinger a ‘Sonic Thinker’ meaning he basis his philosophy upon his aural experience of the world. He often focuses in on the idea of Urban Planning. I connect to the idea of this as I can appreciate his understanding for using all the sound we have around us. This was reflected in his 1998 installation piece ‘MASS MoCA’. He used the existing car sounds taken from a road bridge and built a speaker which would play the sound of live traffic and turn it into a cloud of sound. What once was known to separate the town from the museum had now become what’s known as a harmonic cathedral! I think this shows Auinger’s ambition to not only reunite society physically but also reunite lost noise and noise we become aware of. Using the sound to create such a harmonic humming reflects his views on sonic thinking and using the sound in which is around us. I hope to use this in the future by either creating sound with field recordings or existing sound. He not only uses singular sounds but also engineers them to become something enjoyable and easy to the ear; linking back to his efforts to reunite lost sound and sound we consciously hear. He closely works alongside artist Bruce Odland together becoming ‘O+A’ where they closely focus upon hearing perspective within large public spaces. Creating work such as Sonic commons bringing many foregrounds as to why and how people perceive sound within urban spaces. Making noise into conscious listening! https://vimeo.com/71463497