1/23/2024 0 Comments Delay recording pro toolsThe more they feel I’m working toward their goals, the better they’ll perform and the more often I’ll get hired. More importantly, having these things on hand help artists feel like they’re being supported. All of these things can help relax the voice. I also make sure there is room temperature water, tea or whiskey on hand. If there’s physical clutter, it creates emotional clutter. The space also needs to be relatively clean. I want the artist to feel uninhibited, and taking your eyes off him/her can help with that. I also suggest drawing a curtain so the artist can’t be seen. As corny as it sounds it helps the singer’s imagination take hold. I like the lighting to complement the mood of the song or be turned off. I am consciously affecting the artist’s headspace and there’s a number of really important factors that go into this. Remember, you want to do the gig so well that you create a reputation for yourself and get hired back.Īs goofy as it sounds, I think of tracking vocals as performance art. On top of that, the vocalist isn’t the only one on stage - you are too. It’s a very psychological process and it’s impossible to separate the feel of the session from the feel the vocalist is delivering. At first glance, vocals seem easy to record. It's like I record all the midi virtual instruments sounds, and I want to be perfectly in line with each other.If you want to make a career in music production, at some point you are going to need to record vocals. It sounds like you're getting the hang of it but I'm amazed by how few people truly understand the ins and outs of latency. It's not a hands-off plug-and-play DAW and you'll need to understand how it deals with audio/MIDI and ADC. This is where it's crucial to understand how PT deals with compensation. It *SHOULD* be handled in the background and never a factor, but that's not the case. In short, yes, it's an issue which still hasn't been tackled entirely. But in extreme cases I still have to play to a track that is a little off, or just slide MIDI after the fact. We just go with the lowest buffer that will allow the session to play, bypass master fader plugins, and hope for the best. Turning off delay comp isn't an option because other tracks will slip out of sync. You want the MIDI track you're punching into to play in time with everyone else, but as soon as you engage record it slips. One of the biggest struggles is overdubbing MIDI within a large session. With tiny sessions and ultra-low buffers it's *less* of an issue but our sessions are rarely small, so delay comp is a constant issue. If there's this function for Input compensation, why the audio I recorded are falling behind of the grid, not compensated?ĭelay comp has been a struggle for more years than I can remember, especially if you're using MIDI. The video I showed does not actually input from physchial Input, but a inner bus I think, so even inner BUS Input has compensation? All that to say that the two are different things although they do work together in a lot of scenarios.ĭo you mean : the delay compensation function which you can choose short/long/max also affects the IO compensation? If you disabled plugin delay compensation for recoding, it would only need to nudge the new audio by the monitoring buffer. For instance if your monitoring buffer were 512 samples and the pro tools mixer was compensating the monitoring of all the tracks for a plugin that had a latency of 1024 samples, the newly recorded track would need to be adjusted over by the total amount of all of the latency in the chain so that it could line up perfectly. The I/o delay compensation and the plugin delay would work together.
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