Recording template pro tools10/18/2023 The metaphor is that of a pad of paper with a pre-designed letterhead and logo. In the early days of desktop production, templates were called stationary pads. Working in a digital environment, however, we can mitigate this “blank page” syndrome by using templates. But first, set up that send, create the busses, set up the routing, load up the plug-ins, tweak the parameters, dial in the levels, etc. As mixing engineers, we may have a great picture in our minds of the final mix. Then what? Create a track, call up an instrument, set up a headphone mix, a click track, a count-in, and so on. When we have an idea we want to put down, first we have to boot up our DAW. Do you have a stereo cue or multi-channel cue system? No problem, the templates work with any kind of setup.As musicians, we are often in a similar predicament. Then change the Source mic in/outs and Aux Master outputs that best work with your setup. Since there's no audio in the template, it doesn't matter how the Audio Media or Main Playlist Options sections are set. When you're building an initial template for a recording session, or you need to stack into an existing session, start by using the Import Session Data shortcut to import the stack template of your choice (Option + Shift + I.) At the bottom of the Import Session Data pop-up, choose All in the Track Data to Import pulldown. As a bonus, the stack tracks are pre-panned and instantly mixed as you go. Your live track(s) are always in record and input, so the talent only hears what's being recorded live, plus the stacked tracks. By taking the mouse largely out of play, you can develop a lot of speed when moving your clips around. Then use Command + C to copy, then the semi-colon key to move the selection down to the next track and then press Command + V to copy. First, select the clip you want to move with the Grabber tool. This is accomplished using keyboard focus shortcuts. Stacking comes when you decide a part is good enough to double and it's moved down to the next set of tracks. The templates eliminate the need to repeatedly put tracks in, and out of record and losing connection to the mix because you're always recording to the same track(s). The less your creative spark gets caught up in the technology of recording, the more productive you can be. When stacking vocals or guitar parts and the talent, or you, are creating elements on the fly, speed is of the essence. If you need more stacks, merely duplicate a pair of stacks and keep recording or if you don't need that many, delete the extras at the end of the session. Stacking in even numbers makes it easy to pan stacks across the stereo field when mixing. Why stack six times? This is just a suggestion. If you need more mics and stacks in the template, it's an easy matter to duplicate Source and Stack tracks to fit your workflow. The name says it all – Stack Template 1 x 6 would be used for stacking sources from one microphone six times, Stack Template 2 x 6 for stacking sources from two microphones six times. The templates are very small sessions so can be emailed or kept on a jump drive for quick access. The two, downloadable Pro Tools template sessions are laid out to record stacks of anything using one, or two microphones. With the faders and pans common to both mixes, there's no shock when the talent comes into the control room for a listen, the mixes are comparable. You can send your mix to the talent as you change it by using the Control + Option + H (Copy to Send) shortcut. This means that if you adjust a pan in the Control Room, the talent hears the same thing. This allows the engineer to isolate parts to check for integrity without hearing the talent ask "hey, where did my part go?" Third, despite the independent control room and studio cue feeds, the pans are largely the same due to the FMP (follow main pan) settings built into the track sends. If the talent wants more stacks in their mix, turn it up and vice versa. Second, you can solo, pan, mute, and blend the stacks independently in the Control Room and Studio. stacked levels by using the Aux master faders for the stacked parts. The talent often prefers this because it puts the part being currently recorded loudest in their mix. First, the templates allow you to quickly manage the level of the Source mic(s) independent from the stacked parts. The templates tackle three challenges that arise when vertically stacking parts. Download our free Pro Tools Track Stacking template Problem Solver
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