Importing Audio into PT session

postman56 · 17th May 2007, 02:09 PM

After reading loads of posts in regards to tracking and mixing at -18 or -20 and the beefits of doing so ,
I was wondering about when a person imports pre-recorded music tracks that are
maxed right out on the 0dbfs scale.Should a person be bringing them in through a counsole at say -16 or 18 so there is some room for processing instead,allowing some headroom etc?
Your thoughts would be appreciated.
Ken

Ruudman · 17th May 2007, 02:28 PM

Did you mean calibration levels..?
I do think that healthy levels are the key to getting good ITB sound.

In the matter of treating a near 0 dBfs signal, you can insert a trim plug before adding others

ruudman

minister · 17th May 2007, 02:41 PM

i can understand why you have this question.

basically, a system calibrated and then tracks recorded at -18/-20 can have a lot of benefits. yet, once the file is near 0dBFS, then a file is near 0dBFS. one reason for recording things around -18 is you are not over-driving your mic pre. now, it could be that it was well recorded and then the the level was boosted later. but, it is what it is, it is already cooked.

i would not bring it in through a console and knock it down as that could introduce unnecessary noise. however, you could, as ruudman suggests use a trim plug or use Audiosuite gain (or equivalent) and at least keep the near FULL CODE signal from hitting those plug-ins by knocking it down 6 or 9 (or more) dB. this will allow you to mix with the kind of headroom you need.

i have to do this all the time especially with production library music used in TV and corporate stuff.

postman56 · 17th May 2007, 04:00 PM

Hi Guys, thanks for the reply.
In almost all terms I'm speaking about is exactly as Tom mentioned, importing music off CD from music library's such as Killer Tracks, Match,Videohelper etc.
As of late they have been pretty much maxed out running in Protools directly digitally, so it really was driving any plugs pretty hard.
Because they are digital, through a digital console, I would play them in to PT with a direct bus at which time they have really high levels, then on stereo bus have them bused to another track with 6 or so db down.
Is there much sense in this procedure?
Thanks

QUOTE=minister;1282068]i can understand why you have this question.

basically, a system calibrated and then tracks recorded at -18/-20 can have a lot of benefits. yet, once the file is near 0dBFS, then a file is near 0dBFS. one reason for recording things around -18 is you are not over-driving your mic pre. now, it could be that it was well recorded and then the the level was boosted later. but, it is what it is, it is already cooked.

i would not bring it in through a console and knock it down as that could introduce unnecessary noise. however, you could, as ruudman suggests use a trim plug or use Audiosuite gain (or equivalent) and at least keep the near FULL CODE signal from hitting those plug-ins by knocking it down 6 or 9 (or more) dB. this will allow you to mix with the kind of headroom you need.

i have to do this all the time especially with production library music used in TV and corporate stuff.[/quote]

Stephen Muir · 17th May 2007, 04:09 PM

Many plugins will also let you attenuate the plugin's input signal, although the Trim plugin is usually the simplest way to go.

**Geert van den Berg** · 17th May 2007, 05:06 PM

U could use the audiosuite gain plugin and knock it down or automate the gain plugin or another plugin which has a trim. Gaining it down with the audiosuite plugin does cost some resolution, from a production point of view it doesn't really matter as long as you don't knock it down too much and then gain it up again with the fader. It's going to be mixed along other sounds anyway. And if you do run into trouble you can always bring back the original sound.

Adjusting the automation of just the gain in PT is easy (just switch to the parameter layer and adjust per region with the trim tool), I'd opt for this if you aim for the highest quality it's also easy then keeping your fader near 0dB for max fader resolution.

If it's something that has to be done super quick (a radio/tv commercial) I'd sooner opt for processing the files, just commit to the levels you think the audio need to be. Usually you're not far off anyway.

minister · 17th May 2007, 06:17 PM

Quote:

Originally Posted by postman56

Because they are digital, through a digital console, I would play them in to PT with a direct bus at which time they have really high levels, then on stereo bus have them bused to another track with 6 or so db down.
Is there much sense in this procedure?
Thanks

no, because it is real time.

just use AS or the trim plug.

postman56 · 18th May 2007, 02:01 PM

When you suggest the trim plug'in, are you meaning the Gain Plug in Audio suite?
Thanks

Quote:

Originally Posted by minister

no, because it is real time.

just use AS or the trim plug.

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17th May 2007, 02:09 PM	#1
postman56 Gear maniac Join Date: Jan 2005 Location: Alberta Posts: 200	Importing Audio into PT session After reading loads of posts in regards to tracking and mixing at -18 or -20 and the beefits of doing so , I was wondering about when a person imports pre-recorded music tracks that are maxed right out on the 0dbfs scale.Should a person be bringing them in through a counsole at say -16 or 18 so there is some room for processing instead,allowing some headroom etc? Your thoughts would be appreciated. Ken

17th May 2007, 02:28 PM	#2
Ruudman Lives for gear Join Date: Mar 2003 Location: Norway Posts: 2,846	Did you mean calibration levels..? I do think that healthy levels are the key to getting good ITB sound. In the matter of treating a near 0 dBfs signal, you can insert a trim plug before adding others ruudman __________________ Working Class Hero Visit this website of Noma Children Hospital Sokoto

17th May 2007, 02:41 PM	#3
minister Lives for gear Join Date: Nov 2004 Location: minneapolis, mn Posts: 1,082	i can understand why you have this question. basically, a system calibrated and then tracks recorded at -18/-20 can have a lot of benefits. yet, once the file is near 0dBFS, then a file is near 0dBFS. one reason for recording things around -18 is you are not over-driving your mic pre. now, it could be that it was well recorded and then the the level was boosted later. but, it is what it is, it is already cooked. i would not bring it in through a console and knock it down as that could introduce unnecessary noise. however, you could, as ruudman suggests use a trim plug or use Audiosuite gain (or equivalent) and at least keep the near FULL CODE signal from hitting those plug-ins by knocking it down 6 or 9 (or more) dB. this will allow you to mix with the kind of headroom you need. i have to do this all the time especially with production library music used in TV and corporate stuff. __________________ tom hambleton C.A.S. *I CAN'T BELIEVE HOW GOOD THAT MIX LOOKS!* ministry of fancy noises

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17th May 2007, 04:00 PM	#4
postman56 Gear maniac Join Date: Jan 2005 Location: Alberta Posts: 200	Hi Guys, thanks for the reply. In almost all terms I'm speaking about is exactly as Tom mentioned, importing music off CD from music library's such as Killer Tracks, Match,Videohelper etc. As of late they have been pretty much maxed out running in Protools directly digitally, so it really was driving any plugs pretty hard. Because they are digital, through a digital console, I would play them in to PT with a direct bus at which time they have really high levels, then on stereo bus have them bused to another track with 6 or so db down. Is there much sense in this procedure? Thanks QUOTE=minister;1282068]i can understand why you have this question. basically, a system calibrated and then tracks recorded at -18/-20 can have a lot of benefits. yet, once the file is near 0dBFS, then a file is near 0dBFS. one reason for recording things around -18 is you are not over-driving your mic pre. now, it could be that it was well recorded and then the the level was boosted later. but, it is what it is, it is already cooked. i would not bring it in through a console and knock it down as that could introduce unnecessary noise. however, you could, as ruudman suggests use a trim plug or use Audiosuite gain (or equivalent) and at least keep the near FULL CODE signal from hitting those plug-ins by knocking it down 6 or 9 (or more) dB. this will allow you to mix with the kind of headroom you need. i have to do this all the time especially with production library music used in TV and corporate stuff.[/quote]

17th May 2007, 04:09 PM	#5
Stephen Muir Gear Head Join Date: Apr 2007 Location: Toronto Posts: 53	Many plugins will also let you attenuate the plugin's input signal, although the Trim plugin is usually the simplest way to go.

17th May 2007, 05:06 PM	#6
Geert van den Berg Mac Moderator Join Date: May 2003 Location: Amsterdam Posts: 2,513	U could use the audiosuite gain plugin and knock it down or automate the gain plugin or another plugin which has a trim. Gaining it down with the audiosuite plugin does cost some resolution, from a production point of view it doesn't really matter as long as you don't knock it down too much and then gain it up again with the fader. It's going to be mixed along other sounds anyway. And if you do run into trouble you can always bring back the original sound. Adjusting the automation of just the gain in PT is easy (just switch to the parameter layer and adjust per region with the trim tool), I'd opt for this if you aim for the highest quality it's also easy then keeping your fader near 0dB for max fader resolution. If it's something that has to be done super quick (a radio/tv commercial) I'd sooner opt for processing the files, just commit to the levels you think the audio need to be. Usually you're not far off anyway.