The second is “Play Start Marker Follows Timeline Selection”. I’ve come close and it’s a heart attack and a half. I have miraculously never made this mistake and I NEVER WILL. I reckon the worst feeling in the world is being in the studio with an amazing artist and doing ten great loop passes, only to find none of them saved. There is a preference that automatically stores each record pass to a playlist. Oftentimes the artist will want to record multiple passes and comp them together in one go. The first is “Record Loop to New Playlist”. In Pro Tools preferences, there are a few important boxes that are checked off. It’s nice to be able to drag most of them around instead of having to power type them all out. Once the 2-track/trackouts are in the session I’ll move these markers into place. Not every song follows that format, but this is just a starting place. I also have a bunch of markers already set up: Intro, Verse 1, Pre, Chorus 1, Verse 2, Pre, Chorus 2, Bridge, Chorus 3 and Outro. And I have an instrument track with Mini Grand on it. I have another solo-safe aux with its own cue send, labeled INSTR, which is where the music bed will be going once I have the files. The subgroup and the auxes all go out a vocal cue send in pre-fader mode. There are two more aux tracks one called VERB, the other called DLY, which get a good ol’ D-Verb Hall and 1/4 note H-Delay, respectively. All of these go down to a subgroup labeled VOX in solo-safe mode. Two are labeled Verse LD (lead), two are labeled Chorus LD, one is labeled Verse COMP, one is labeled Chorus COMP, 16 are for vocal stacks and two are kept as blanks for whatever may come up. Inside of Pro Tools, I already have 24 audio tracks armed to my input. Mic shootouts are cool and everything, but more often than not people want to get in and get moving.īased on the vocalist and style, I decide what chain will work and I set it up. This requires a bit of prep.įirst things first, I show up early and set up ahead of time. I like to have things ready to go at a moment’s notice. The 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. “Pro Tools is pretty much my foundation for everything-it’s homebase, it’s where I cut vocals, how I make beats, it’s how I come up with ideas… Everything lives within that environment and to me, it just makes so much sense how it works and makes my life so much easier.If you want to make a career in music production, at some point you are going to need to record vocals. “How you start kind of gives you your roots and kind of gives you your DNA of creativity and breaking the rules.”Īnd Pro Tools is his choice for helping inspire and harness his creativity. “When I hear a song, I’m thinking more about rhythm and more about an interesting way of delivering it rather than what’s the conventional way of doing it,” Bell explains about his process. It’s no wonder why his work dominates the music charts and has earned him 20 GRAMMY® nominations. And a lot has to do with his talent for knowing how to make a hit record. How did he become one of music’s most prolific and sought-after producers and songwriters in the industry? Much of it has to do with how he works with artists in the studio. Starting out as a songwriter, then venturing into music production with Pro Tools in 2003, Bell has since gone on to work with a who’s who in music, including Post Malone, Justin Bieber, Miley Cyrus, Kanye West, Halsey, Ed Sheeran, Taylor Swift, Ozzy Osbourne, Jonas Brothers, 5 Seconds of Summer, and many more top artists. “I’d always wanted to make beats first-I loved rap.” That’s why music producer, songwriter, and mixer Louis Bell got into making music.
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