Organize Pt. 3 (patchbays)

Patchbays

Having a patchbay helps to optimize your signal routing and organization. Even the most modest of studio setups can benefit from the simple addition of a patchbay. Almost any configuration of cable connection - xlr, 1/4" TRS jack, Cat5, etc. can be connected to a patchbay. And you can make your connections without ever having to leave your seat!

If all your equipment I/O is connected to the patchbay and it is labeled well, it will save you time by not having to go around the back of your gear to connect things. It will save wear and tear on the connections of equipment. It also centralizes the grounding of gear and reduces potential ground loop noise problems.

I use two main types of patchbays in my studio: xlr and 1/4". The [Hosa] xlr patchbay is configurable. That is, the two types of xlr - male and female - can be configured to fit one's needs. You can have the front panel all xlr male, all xlr female, or a mixture. Conversely, you can set the back of the patchbay as well.

The [Neutrik] 1/4" patchbay has a two-row topology and is typically set up with an out-over-in signal flow, or a downward signal flow direction. For instance, outputs on the top row and corresponding inputs below. Or, sends on top and returns on bottom. TRS patch panels have configurable setups called "normalled" and "half-normalled". In patchbays, a normal is an internal connection from the top row of jacks, to the bottom row. Normalling allows connections that are normally in effect to exist without the need for inserting a patch cable in the front of the bay. For example, the stereo outs of a mixer are generally connected to the inputs on a stereo mixdown deck. By connecting the mixer’s outputs to the top back row of a normalled patchbay’s jacks, and the mixdown deck to the bottom back row, a connection is made internally in the bay, and does not require extra patch cables. 

When a jack is inserted into the lower plug, however, the normal connection is broken. This provides a convenient way to route signals to multiple destinations. For example, the output of a mixer that is normalled to the input of a DAT on the patch bay can also be simultaneously routed to another patch point. To do this one would simply run a patch cable from the patch point that is the output of the mixer (an upper jack) to the patch point that is the input to the other device (a lower jack). This connection will break the normal of what would normally be feeding that other device in favor of the mixer signal that has been patched in. Signal will now be routed to the DAT and the other device. Another application might be to insert an EQ after a preamp but before the converters. Simply route the output of the EQ (an upper jack) to the normal input jack (a lower jack) for that mic preamp.

As a final note - label, label, label!! In a previous post I mentioned owning a digital label maker. This is when it comes in handy! Also, write all the routing options down on paper first to help figure out organization.

Having a patchbay will simplify your studio life and make routing an easy task!

Peace - and HEY! make it a great day!!

T

Organize Pt. 2

Group Cabling
Keep cables grouped together by type (audio, MIDI, mains, etc.). This makes it easier to find faulty cables, patch equipment quicker and easier, and help reduce cable-borne noise problems. Putting a little distance between different types will reduce the potential for EMI (electromagnetic interference) problems, because mains cables can induce a 50Hz hum on audio cables. Always try to keep power cords of any kind separate from audio cables. If they do have to cross, try to do it at a 90° angle to minimize hum induction.

Use Cable Wraps
Using cable ties of some sort are definitely in order! Use Velcro or easy-release plastic ties. DO NOT use the infamous rock-n-roll duct tape! It will leave sticky residue once removed!

Label
Label Everything! I used to use the little string tags (and if I was to be honest, there are still some being used). But I did finally invest in a digital label maker. Good Investment! I now have 2 different tape sizes and label everything - patch bays, monitor control, hard drives, cables, wires, boxes, etc. You get the point!

'Faulty' Box
Get a large plastic box and label it "Faulty", "Not Working", "Needs Repair", "Bad" or something like this. You will end up with equipment that needs repair, faulty wires or cables, stomp boxes not working correctly, or just components that you can use later for recycling of parts. Almost everything in our studio can be repaired or used for parts. This helps keep unusable equipment from getting mixed up with the good. How many times have you reached for that cable that doesn't work or needs a wiggle when you use it! Throw it in the faulty box! When you have some time, get into the box and pick a project! Or better yet, sell the lot on eBay under 'needing repair' and get them out of your hair.

I now have initiated all of this in my own studio. I am much better organized, I have better workflow, waste less time and can focus more on my tracking or mixing. I hope this helps you too!

As always-
Make it a great day!

Tim

Timebase in Pro Tools

In pro tools, material (audio or midi) on a track is associated with a type of Time Scale. All track types can be set to either sample-based (for the Sample Time Scale) or tick-based (for the Bars/Beats Time Scale). Different tracks can be set to different timebases as needed.

Audio tracks are sample-based by default. This means that audio clips have absolute locations on the timeline and are tied to specific sample locations. If you change the tempo or meter the audio will not move. This is helpful, for instance, if you import an audio clip and want to build other audio or midi tracks around it and end up changing tempos or meters a few times. You don't want to affect the original clip. 

However, MIDI and instrument tracks are tick-based by default. This means that midi clips are fixed to bar and beat positions and move relative to the sample timeline when tempo and meter changes. So if you change the tempo, the midi will either speed up or slow down accordingly. 

A good tip to keep in mind is Elastic Audio-enabled tracks can be switched to tick-based in order to automatically follow tempo changes in your session and conform to the session's tempo map. 

And lastly, you select whether a track is sample-based or tick-based when you create it, but you can change timebases later as needed. 

Hope this helps!

Peace - and HEY make it a great day!

Tim

Powering Up Your System in the Proper Order

Did you know that it is important to power up your system and equipment in a certain order? In the early days, for me, I didn't know that!

Because systems are typically composed of both hardware and software, preparing your system for use might involve more than simply turning your computer on and launching your DAW of choice. The larger the system, the more important it becomes to follow a specific startup sequence. Starting components out of sequence could cause a component to not be recognized, prevent the software from launching, or cause unexpected behavior.

The recommended sequence is as follows:

1. Make sure all your equipment, including the computer, is off.
2. Turn on any external hard drives that use external power (wait about 10 seconds for them to spin up to speed).
3. Turn on any MIDI interfaces and MIDI devices (including any MIDI control surfaces) and synchronization peripherals.
4. Turn on your audio interface. Wait at least 15 seconds for the audio interface to initialize.
5. Start your computer.
6. Turn on your audio monitoring system, if applicable.

If your audio interface gets it's power from the computer, it doesn't need to be powered up in advance.

That's it! When you get in the habit of always starting your recording or mixing sessions this way, it will ensure that everything works properly as it should!

Till next time - Peace!
And, HEY, make it a great day!

T

Finally stepping up into Pro Tools HD!

So I've finally moved into Pro Tools HD! I've wanted to do this ever since I first got into pro tools. I was able to get a good deal on pro tools 12 HD, 192 I/O, and an HD Native interface. I'm moving up from pro tools 8 LE and a 002 rack. I'm still working out the bugs on setting everything up. 

Oh and did I mention I got the new Mac Pro!! Saweet! I'm loving it!!

As I work through all the issues I'll be reporting them here. I've already worked through some midi issues so that will come up first. 

Stay tuned!

Recording from sound module without effects

If you're involved with a lot of production work and do a lot of MIDI work like I do, you record a lot of projects using your sound modules. All sound (tone) modules automatically put effects on the sounds by default (so they sound better). Even free plug-in modules that come with recording software like Pro Tools do this. So if you use Xpand, Sampletank, etc. or you use outboard gear like Roland or Motif - you'll want to know this!

When I use my Motif-Rack, I always go to the Effects Insertion Bypass screen and turn off the reverb and chorus. I am a piano player by trade and thusly do a lot of production work which involves piano tracks. I end up recording MIDI piano tracks dry, no reverb, no chorus. And if I use anything else - percussion, strings, etc. I also record those dry - no effects.

Why? Because for one, I don't want chorus on a lot of my tracks (which Motif-Rack puts on all sounds by default!). I only use chorus as an effect once in a while (for the keys work I do). And two, the reverbs I have available as plug-ins in my DAW are better (i.e. Waves reverbs) than what Roland or Motif is going to give me.

On Pro Tools' free instrument software plug-ins such as Xpand and Mini Grand, they always come with reverb (hall) or chorus or some kind of effect. Xpand down at the bottom has 2 effects - fx1, fx2. (If the green light is on - they are engaged) deselect those, and use the ones that come with your software. Sampletank has a place toward the bottom to engage effects but by default does not have them on when you create an instantiation and open the software.

Try to record dry and then use other software plug-ins or hardware outboard gear for your reverb, chorus, plate, etc. Your music will sound better for it!

Peace -

And, HEY, make it a great day!!

Tim

Unmount hard drives from within Pro Tools

Have you ever tried to eject a hard drive from your system that you used in a pro tools session while pro tools was still up and running? It didn't work, did it?

Here's the scenario:
You're working in a pro tools session and the client gives you a hard drive to grab wav files off of. So you take care of that, go to the desktop, and try to eject the hard drive (command E) since you're done with it. You get some dialog box that says the hard drive is in use and can't be ejected.

Now, in the old days, I always closed the pro tools session I was working on, closed the application, and then went and ejected the drive. Well there's a much better way!!

From within pro tools, go to the 'Window' menu command on the menu bar at the top of the screen. Under Window, go to 'Workspace'.  On the left side it will show all hard drives on the computer. Select the one you want to eject (the client's hard drive). Then, at the top right of that same window there is a drop down arrow (in a circle), select that. Three quarters of the way down the menu list it says 'Unmount'. Select it and it will unmount (eject) the hard drive!

Awesome, right!? Knowing this little tidbit helps save time and makes you look more professional in front of the client! All in a day's work!

Peace!

And, HEY, make it a great day!

Tim