Editing an interview, for example, can benefit from edits in Shuffle Mode. Maybe the interviewee takes a long pause in between sentences as they try to find the right words to say—you can easily delete that pause and the next sentence will snap to the end of the previous one, making the interview feel more seamless and concise.
While Spot Mode features the same unconstrained selections and edits, such as Slip Mode and Shuffle Mode, it features a unique way of moving and trimming clips. It allows for extremely precise clip movement and placement via the Spot Dialog box, which allows you to specify your exact start point and end point.
Instead of using the Grabber tool to drag your clips to your desired destination on the timeline, the Spot Dialog box allows you to type in the exact location, and it will move your clip to that point.
Spot Mode is probably used most often in video post-production projects, since dialogue tracks, sound effects, and music cues need to align with exact moments in the timecode. This is achieved by changing the Time Scale to Timecode, as shown in the screenshot below. This way, instead of dragging and dropping audio clips around the Pro Tools timeline, a post-production editor can simply time in the timecode location to sync the audio clip with the video playback.
Different types of projects may require you to toggle through the editing modes multiple times, depending on the type of content you are dealing with.
The best way to know which mode is going to be best for any given situation is to practice with each of them and get familiar with how they affect the functions of your Edit tools and other clips on your track. ProMedia Training is the premier authorized Avid Pro School since , having certified more students in Pro Tools than any other organization, preparing them for a Pro Tools career in audio engineering, recording, mixing and related multimedia training for musicians, producers, recording engineers, worship facilities and corporations.
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Get great tips, tricks, free video tutorials and more by signing up for our newsletter. You can also call us Toll Free anytime during business hours at Toll Free Upcoming Pro Tools Training. Grid Mode If you use Pro Tools primarily for music projects, Grid Mode will be one of the most frequent modes you use. Spot Mode While Spot Mode features the same unconstrained selections and edits, such as Slip Mode and Shuffle Mode, it features a unique way of moving and trimming clips.
We find this a particularly useful tool when changing a songs arrangement setup, for example a verse will usually last for a set number of bars, if the grid mode matches this value then we can easily grab the entire verse regions and move or copy them in bar values to later in the session without losing its time placement.
As mentioned briefly earlier, Grid mode will allow you to work in both Absolute and Relative mode so we had best explain the differences…. Your email address will not be published. The edit mode can be selected in the top left hand corner of the edit window, they can also be selected using the following shortcuts: Shuffle Mode F1 Slip Mode F2 Spot Mode F3 Grid Mode F4 You may also notice at this point that the Grid mode can be changed between Absolute and Relative positioning, this will be explained later in the article.
Shuffle Mode Shuffle mode will make region boundaries align next to each other, for example if you had two regions on a single track with a space between them, as soon as the right region was moved at all the start of that region would automatically snap to the end of the left region.
Slip Mode Slip mode will allow you to move and trim regions freely without affecting the position of any other regions within the session, you can create overlaps or empty space between regions wherever you like. Grid Mode Within Grid mode, any region movements will snap to the nearest set time increment depending on which grid value is set within the edit window toolbar. Unless, that is, you mute the track to which you're recording, or lower its fader — in which case you'll have to remember to unmute it on playback, then mute it again for the next take, and so on.
This is a nuisance, especially when you're recording multiple inputs in which case it's worth making them into a Mix Group so you can mute and unmute them all with one click. I've been whingeing about this in Pro Tools reviews ever since the launch of the original Mbox in , and in the context of Pro Tools 9 it's probably now my number one gripe.
I'm not quite sure how this piece of received wisdom became so entrenched. Still, the Internet is a powerful medium, and delay compensation in native versions of Pro Tools was the number one feature request from users. Avid have duly obliged, and Pro Tools 9 now features the delay compensation engine that was previously available only in HD.
To be used as inserts in the mixer, hardware effects have to be attached to the same numbered inputs and outputs, and if you want their delays compensated for, you have to calculate them manually — there's no automated 'pinging' for delays as you find in some other DAWs. This was the case regardless of which audio interface I was using. At the time of writing, the latest version of the UAD2 software 5. Like delay compensation, most of the other 'new' features in the basic Pro Tools 9 have been available in HD for quite a while.
That doesn't make them any less of a big deal, though, and together they amount to a massive shot in the arm for Pro Tools as a native system. All of them have been described in detail in previous SOS articles, so I won't go into detail, but here's an outline of what you can expect:.
Beat Detective is an automated editing tool for knocking wayward drum performances into shape, and although it's quite long in the tooth now, I've yet to find a better alternative. As it happens, just before the review period I had exactly such a performance that I wanted to conform to a rigid tempo grid.
All of the Elastic Audio modes compromised the sound to an unacceptable extent, especially on floor toms. Beat Detective in action. Here, I've just analysed the Snare track and hit 'Add Unique' to combine its triggers with those generated from the Kick track. This allows you to gather together a composite set of 'triggers' — say, from kick and snare drum tracks — and apply them to all your drum tracks simultaneously, thus preserving phase relationships between them.
For some reason, the first time I tried this in PT9 it wouldn't let me collect anything, but after that, it worked as expected. For more advanced video work, though, you'll want to add the Complete Production Toolkit 2, which enables HD features such as multiple up to 64!
Assigning a VCA fader to multiple audio tracks in your mix allows you to raise or lower their levels simultaneously with one fader move. The benefits of working in this way may seem subtle at first, but can be substantial in practice. Here, I have two guitar tracks, each of which has its own volume automation graph. These tracks are, in turn, assigned to a Mix Group controlled by the VCA track below, which has a further layer of automation.
The blue lines show the resulting composite automation graph for each track. Hand in hand with VCA groups comes a slew of advanced automation features, again available for the first time in a native system thanks to the Complete Production Toolkit 2. These are too many and too complex to describe in full here, but include various useful ways to write multiple layers of automation for a single fader, which can later be 'coalesced' to a single curve, plus support for snapshot automation, where settings for the entire Pro Tools mixer, or any subset of its parameters, can be stored and recalled for individual sections of a Session.
Again, most of these features were introduced or updated in Pro Tools HD 7. Also included as standard are the more powerful version of the Digibase browser, complete with Catalogs, and the Export Session as Text option. Oh, and remote control of Avid's PRE mic preamps is now universal as well, though I don't suppose there are many of these about in native systems. Pro Tools 9 is an unusual update, in that nearly all of its 'new' features aren't new at all.
Admittedly, support for ASIO and Core Audio is a deal that's about as big as they come, but apart from that, almost everything was already there in HD. In practice, this is not an issue unless you need to use large sample libraries, but it probably needs to happen soon.
At a stroke, they have removed almost all the frustrations afflicting the many users who wanted or needed to belong to the Pro Tools world, but lacked the budget to go HD. The same is not likely to be true of HD users, though. Unless you want to take advantage of the ability to run a native Pro Tools rig when away from the studio, there's almost nothing in Pro Tools 9 HD that wasn't in 8. I do better work in it, and I do it faster. Avid's pricing positions it squarely in the DAW pack: around the same as the full versions of Cubase and Digital Performer and slightly dearer than Logic Pro or Sonar, though if anything, it's perhaps the much cheaper and highly customisable Reaper that can most closely match Pro Tools' functionality.
Each of its rivals can boast features that the basic Pro Tools 9 lacks, but the reverse is also true; this is no longer 'crippleware', but a very powerful tool. While the Core Audio implementation appears pretty solid, ASIO support in Pro Tools 9 still feels a little immature, both in comparison with other applications such as Cubase, and with Avid's own hardware drivers.
If you're planning on using a Windows system, check carefully that your preferred audio hardware works properly: the AIR Users' Blog maintains an unofficial list at www. But it's already very usable with the right interfaces, and this is such an important and central issue that I'm sure Avid and other manufacturers will be working to improve it. In other respects, Pro Tools 9 is remarkably free of bugs and teething troubles, because so much of its functionality has already been tried and tested in the HD world.
Having used Pro Tools 9, I'm no longer sceptical about Avid's new corporate openness. In fact, it's exciting to speculate about where it might lead next. VST and Audio Units support?
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