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  • Book Overview & Buying The Pro Tools 2023 Post-Audio Cookbook
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The Pro Tools 2023 Post-Audio Cookbook

The Pro Tools 2023 Post-Audio Cookbook

By : Emi Paternostro
4.7 (11)
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The Pro Tools 2023 Post-Audio Cookbook

The Pro Tools 2023 Post-Audio Cookbook

4.7 (11)
By: Emi Paternostro

Overview of this book

Pro Tools has long been an industry-standard Digital Audio Workstation (DAW) for audio professionals, but it can often be overwhelming for new and experienced users alike. The Pro Tools 2023 Post-Audio Cookbook acts as a reference guide to the software and breaks down each stage of a project into manageable phases. From planning a session, editing a sequence, performing a mix to printing the final masters, you can approach this book either sequentially or peruse the self-contained recipes. You’ll come to grips with workflows for music production, motion picture, and spoken word production, helping you gain expertise in the area of your choice. You'll learn aspects of music mixing like side chain processing to keep instruments from overshadowing each other and conforming for motion picture. The author’s expertise with Pro Tools will help you discover and incorporate different techniques into your workflows. You’ll also learn to build consistent and replicable workflows and templates by understanding what happens behind the scenes in Pro Tools. With this cookbook, you’ll be able to focus on the creative aspects of your audio production and not get mired by the technical hurdles. By the end of this book, you’ll be well-equipped to handle even the most complex features of Pro Tools to deliver immaculate results for your clients.
Table of Contents (13 chapters)
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Setting the correct mix level

One of the most common conversations among both beginners and seasoned music engineers is about the right loudness level for mixing music. There is some personal preference at play but the most important thing to consider is Headroom, which is how much dynamic range a mix has over the target mix level. For instance, if I am mixing a piece of music to a target of -10 dB LUFS, that gives very little room above that target for signals to go over before they distort. However, if I set my target to -24 dB LUFS I have a lot more range to play with.

This might seem like something that is not consequential – can’t you just compensate by turning certain things down? The reality is our ears and brains don’t perceive loudness equally across the spectrum of frequencies. You can look at something called the Equal Loudness Curve if you want to get the exact details, but the core concept is that we as humans have evolved to hear sounds that fall...

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