Customer Reviews

Pro Tools for Musicians and Songwriters

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3 star:		(1)
2 star:		(4)
1 star:		(0)

 

 

Pro Tools is a Digital Audio Workstation by Digidesign for music production and digital audio editing. It is widely used to create audio for film, television, and music and serves as the de facto standard in those industries. As one of the first programs to provide CD-quality (16-bit and 44.1 kHz) multitrack editing on a personal computer, use of Pro Tools has quickly grown in the sound recording field. It originally became popular because of its simple, streamlined interface for non-linear, non-destructive audio editing. This appealed to analog producers making the switch to computer-based production. Thus, now just about anyone can have the power of a recording studio on their personal computer, thus eliminating much of the need for expensive professional recording time.

Most books on Pro Tools are really dumbed down and basically just show you what interfaces and controls do what without giving you the big picture. None of them up to this book show artists how to use this computing package to assist them in their craft. I really liked this book's readable style coupled with useful graphics on all of the controls, as well as tips on recording techniques. It is suitable for Pro Tools novices as well as those already familiar with the controls since the book takes you from the basics into adding your own plug-ins, working with MIDI, arranging and recording your own music, and finally exporting your music to CD or to the Internet.

I notice that Amazon does not show the table of contents, so I do that here. As you can see from the table of contents, much of the book concentrates on exercises so that you get plenty of hands-on experience.
1: GETTING STARTED 2
The First Step 3
EXERCISE 1: Start a New Session 3
Fasten Your Seatbelts 9
EXERCISE 2: Create Your First Track 9
EXERCISE 3: Add Your First Plug-in 12
EXERCISE 4: Change the Click Sound and Volume 14
EXERCISE 5: Change the Tempo 17
EXERCISE 6: Get to Know the Ruler Timeline 18
Wrap Up 19

2: LOOPS & RECORDING 20
The Upside of Downloading 21
EXERCISE 1: Download Loops 21
EXERCISE 2: Import Loops into Pro Tools 24
EXERCISE 3: Resize and Move Tracks 26
EXERCISE 4: Mute, Solo, Pan, and Volume 29
EXERCISE 5: Repeat Audio Loops 31
Intro to Recording 34
EXERCISE 6: Prepare to Record 35
EXERCISE 7: Record Your Track 40
EXERCISE 8: Punch In and Punch Out 44
Manually
EXERCISE 9: Automated Punch-In and 45
Punch-Out
Wrap Up 48

3: THE EDIT WINDOW 50
EXERCISE 1: Import Audio a New Way 51
EXERCISE 2: Use the Zoomer 55
EXERCISE 3: Use the Grabber in Grid Mode 60
EXERCISE 4: Create a Snare Track and a Hi-Hat Track 66
EXERCISE 5: Use the Trimmer with Slip Mode and Spot Mode 73
EXERCISE 6: Change Timebase 80
EXERCISE 7: Use the TCE Trimmer 84
EXERCISE 8: Use Shuffle Mode 88
Wrap Up 94

4: PLAYLISTS & MARKERS 96
EXERCISE 1: Use Save Copy In 97
Working with Playlists 100
EXERCISE 2: Record with Playlists 101
EXERCISE 3: Record Four Playlists 105
EXERCISE 4: Create a Composite with Playlists 109
Markers and Memory Locations 114
EXERCISE 5: Create and Use Markers and Memory Locations 114
The Secret to Doubling 118
EXERCISE 6: Try Out Doubling 118
Wrap Up 123

5: USING PLUG-INS 124
Two Types of Plug-Ins 125
The Anatomy of an EQ 126
EXERCISE 1: Add a 1-Band EQ 127
EXERCISE 2: Repair the Snare 132
EXERCISE 3: Add More EQ 135
EXERCISE 4: Copy, Mute, and Move Plug-ins 142
Wrap Up 144

6: INSERTS & BUSSES 146
EXERCISE 1: Use a Reverb as an Insert (the Wrong Way) 147
EXERCISE 2: Use Reverb on a Bus (the Right Way) 153
EXERCISE 3: Remove Inserts and Sends 158
EXERCISE 4: Name Your Busses 160
EXERCISE 5: Use a Delay 164
EXERCISE 6: Use Solo Safe 170
Compression 172
EXERCISE 7: Tackle the Compression Plug-in 173
Wrap Up 179

7: MIDI TRACKS 110
EXERCISE 1: Download and Install SampleTank Free 181
EXERCISE 2: Download SampleTank Sounds 187
What Is SampleTank? 190
About Virtual Instruments 191
EXERCISE 3: Testing MIDI, 1 2 3 191
EXERCISE 4: Authorize SampleTank 194
EXERCISE 5: SampleTank and Instrument Tracks 197
EXERCISE 6: Record Multiple MIDI Tracks 202
EXERCISE 7: Record a Bass Line 209
Wrap Up 215

8: MORE ON MIDI 216
EXERCISE 1: Set Up a Keyboard Track 217
EXERCISE 2: Change the Song Start Time and Create a Count-Off 219
EXERCISE 3: Adjust Real-lime Properties 222
EXERCISE 4: Edit MIDI Properties Manually 226
EXERCISE 5: Work with Region Groups and Transposing 231
EXERCISE 6: Work with Mix and Edit Groups 235
EXERCISE 7: Use Mirror MIDI Editing 240
EXERCISE 8: Create a Shaker Track with Pencil Tools 243
EXERCISE 9: Use Step Recording 249
EXERCISE 10: Record in MIDI Merge Mode 253
Wrap Up 255

9: ARRANGING A SONG 256
EXERCISE 1: Create the Song's Markers 257
EXERCISE 2: Create a Song Arrangement 263
EXERCISE 3: Hide Tracks and Use Groups 271
EXERCISE 4: Finish Arranging the Song 276
Wrap Up 285

10: TIPS & TOOLS 286
EXERCISE 1: Prepare a New Session 288
EXERCISE 2: Change the Meter and Find the Tempo 292
EXERCISE 3: Change the Tempo 295
EXERCISE 4: Import and Fix More Loops 298
EXERCISE 5: Create Region Groups and Assign Colors 305
EXERCISE 6: Use Shuffle Mode 310
EXERCISE 7: Create Markers in Playback 315
EXERCISE 8: Use Loop Recording 318
EXERCISE 9: Create a Composite with Looped Recording 322
EXERCISE 10: Crossfades, Fades, and Editing Tips 326
EXERCISE 11: Punch In with QuickPunch 330
EXERCISE 12: Using REX Files 333
EXERCISE 13: Create Groups Within Groups 336
EXERCISE 14: Save Copy In 341
EXERCISE 15: Delete Unused Audio 344
Wrap Up 345

11: AUTOMATE & MIX 346
EXERCISE 1: Download and Install the Waves Plug-In 348
EXERCISE 2: Increase Your Hardware Buffer Size 351
EXERCISE 3: Set Up Your Effects 352
EXERCISE 4: Print a MIDI Track to Audio 355
EXERCISE 5: Shift the EP Audio Track 361
EXERCISE 6: Using the SuperTap Delay and Bussing Effects 368
EXERCISE 7: Intro to Automation 379
EXERCISE 8: Use Timeline Insertion 385
EXERCISE 9: Automate Plug-Ins 388
EXERCISE 10: Use AudioSuite Plug-Ins 394
EXERCISE 11: Automate a Send 397
EXERCISE 12: Tidy Up Your Tracks 401
EXERCISE 13: Create a Master Fader 408
EXERCISE 14: Use Mix Bus Compression 409
EXERCISE 15: Bounce to Disk 412
EXERCISE 16: Burn a CD 415
Wrap Up 419

12: EXPORT YOUR SONG 420
Recording Back into Pro Tools vs. Bouncing to Disk 421
EXERCISE 1: Record Back into Pro Tools 422
EXERCISE 2: Punch In on a Mix 425
EXERCISE 3: Consolidate Files 428
EXERCISE 4: Export Regions as Files 432
EXERCISE 5: Create an Instrumental Mix 435
EXERCISE 6: Clear Unused Audio 440
EXERCISE 7: Back Up Your Session 441
EXERCISE 8: Create a Folder for the Mixes 446
EXERCISE 9: Create MP3 Files in Pro Tools 451
EXERCISE 10: Create CDs and MP3 Files with iTunes 457
EXERCISE 11: Create a Stem Session 466
EXERCISE 12: Import Tracks from a Pro 481
Tools Session
Compressing Your Session Folder 486
Mac Users 487
Windows Users 488
All Together Now 488
A Little Spring Cleaning 489
Congratulations... 489

If you like tutorials, (and why wouldn't you for learning material?), and you're new to Pro Tools (and there are a LOT of new users out there with the release of M-Powered Pro Tools), then this is THE book to own. Trust me, I've read them all. Gina's book goes a HUGE way in giving the user the confidence and skills to handle all but the most advanced in Pro Tools techniques. Honestly, Pro Tools is probably the easiest DAW out there (when compared to Logic Pro, Cubase, Live, Digital Performer, etc...) to master, but it amazed me to read so many books on Pro Tools written by authors who just could not write a cohesive text that truly served to educate the reader--so many seemed like English 101 plagiarisms of Digidesign's Manual rewritten just enough to perhaps fool the instructor! To prevent embarassment for other authors, I won't list them here, but just suffice it to say that if it isn't written by Fant-Saez or isn't the Digidesign 101 book, then it ain't too good unless it is deemed a "reference" book.

I won't go into detail about the contents of this book, as that has already been done by other reviewers. This book has a pleasant style, well thought out tutorials, great graphics, and goes beyond the call of duty into the "intermediate user" territory towards the end. A highly valuable resource!

That said, I have to disagree in a big way with some of Gina's editorial about Production techniques. From the beginning, she says to ONLY record with drummers using a click track. In fact, she goes as far to say that if your drummer will not play to a click, then get a new drummer! I think that this advice is ludicrous. She also claims that over 90% of production today is done to a click track! Maybe electronic music...but NOT rock n' roll, baby! Not at all. Ask Matt Cameron, the Rolling Stones, Ringo Starr, AC/DC, Jet, etc... what they think about click tracks...it has been documented in texts by engineers and others that these guys/girls DO NOT use click tracks...I just hope that her statements in this book do not kill someone's idea or dream of drumming just because they choose to be "organic" and to have a sound that "lives and breathes" instead of rigidly following some synthetic crystal-controlled machine...

Off of soapbox now, I can highly recommend this book!

I was in the music business up until about 15 years ago. I had my own analog recording studio, and wrote and recorded many songs with other artists. Now I have recently decided to get back into it, and have discovered quite a learning curve with Pro Tools, midi, drum plug-ins, and keyboard capabilities all at once. But that's a longer story....

I have read the ProTools manual (all 700 pages), reviewed DVD tutorials, read the ProTools 101 course manual, but nowhere could I find anything that presented a learning process step-by-step that acquainted me with how to do the things I wanted to accomplish without assuming I already knew what they were talking about. But Gina's book gives me that information, shows me each screen pictorially, and moves at a pace that makes sure I understand before moving to the next step. It is far more educational than the dry presentations in technical jargon the other sources gave me. I strongly recommend this book as a straightforward ease to your mounting frustration in tackling the learning curve.

I hereby proclaim Gina Fant-Saez's "Pro Tools for Musicians and Songwriters" to be the Greatest Pro Tools Book Yet Written in the History of Mankind!!

I am a Digidesign Certified Pro Tools instructor in N. California Bay Area and teach the highest levels of Expert Certification for both Music And Post.

I must have every Pro Tools book and video every released. (including the

complete set of Digidesign's 3rd Edition Certification Courseware )

I love, Love LOVE your book Gina!

I love the mini modules, the constant Exercise approach.

This is the way I teach. If I ever "tried" to write a book, it would be like

this. But why bother because this is a Masterpiece!

If I had known about this book a few weeks ago, I would have made it THE

REQUIRED text book for my Pro Tools classes this semester. But I promise I will have the college bookstores order them for my Summer and Fall classes!! In fact, I think I am going to add this book to my syllabi and incorporate the content into my classes immediately!

Peachpit is da 'Bomb! Their stuff is always meticulous. And editor Jim Aikin is the

best.

Two Big Thumbs Up!

Bruce Tambling

www.brucetambling.com

After reading half of this book after getting out of the library, I decided I could at least put up a review on Amazon. I've been using Pro Tools HD for almost 4 years and consider myself an advanced user. That being said, there are tips and tricks and techniques in this book that I either never heard of, or never thought of (and aren't in the manual). And believe me, Ive read every pro tools book available.

While this book is geared mainly to newbies, even advanced users, if they patiently wade through familiar material, will find valuable nuggets of information that will either save you time or make things easier in your day-to-day pro tools use. I'm reading it thoroughly as you never know when one of these nuggets will happen upon you!

The book is full color, heavy, and substantial feeling. Quality print job. There are a few typos, so the copy editor should be fired. But Gina is knowledgeable and writes clearly in plain English.

I've renewed it twice from the library, but am buying it as this is a book I want to keep on hand.

Excellent!

This book is great for anyone who wants to get right into protools recording. The hands on examples are excellent and easy to apply to your own music. It is written in a way that makes it easy to understand and apply the concepts. I bought protools 101 too and this book covers all if not more of the material in that book in a much more user friendly way with color screen shots that make it easy to follow. I highly reccommend it for anyone interested in digital recording with protools.

I wish I had read this book to begin my journey into Pro Tools.
Extremely user friendly, it removes all the technological clutter and lets the singer/musician/even bass player get on with the process of actually creating music.
Very high quality graphics, coupled with concise, friendly text, make this book a joy to read. In this new digital age, there's so much gear consciousness that we sometimes
forget what our intent was. Ah, now I remember, 'playing' music.

If you graduated with with a computer science degree no worries. Creating in the digital domain won't be a problem. But as a musician who want's to get his ideas recorded and edit them into masterpiece soundscapes ProTools puts the technology right at your fingertips. Everything you need to make the best CD you can imagine is there. "There" however, is like looking at a stary sky and trying to name everything you see, how far they are apart and how long they've been there. ProTools is awsome but the folks who developed it don't speak normal.

Pro Tools for Musicians and Songwriters walks you through the process of laying down your tunes with simple style. All you have to do is remember how you got there. No matter how you learn the program you will have to revisit the tutorial. After struggling with several books and DVD's this book is the one that helps me the most. Thank you Gina Fant-Saez

I own a whole bunch of Pro Tools videos, books and tutorials. Take my word for it: There's NOTHING out there as good as this book! And I don't mean that just in an instructional sense ... the QUALITY of the book's pages, the FULL COLOR screenshots, the witty, easily understandable language ... this is definitely THE BEST Pro Tools book I've ever read! The author's unintimidating approach makes you see results FAST! You will literally LOVE Pro Tools from now on ... and you will really KNOW how to put it to use! If you're a musician like me (not an engineer) this is the book to get.

Don't think twice about it: you will learn quickly and easily!

Bravo and thank you, Gina Fant-Saez!

I am a guitarist. A singer as a distant second, and a bassist as a just as distant third. I used two pieces of hardware to record with before I bought Pro Tools 8 LE with the Eleven Rack: my Boss BR-800 was fantastic as a user-friendly device. I was able to record and do pretty much anything I wanted right out of the box without cracking the manual. The problems of a strict limit of 8 tracks and a limit of 100MB/song led me eventually to get the Roland VS-1800. It was much harder to use, and required much manual study(took me almost 2 hours to figure out how to properly turn it off), but I eventually became comfortable and fast with it, and earned much more recording other people's songs with it than it had cost. But when its limitations required me to buy Pro Tools to adapt, I was scared.

I found Gina Fant-Saez' book on Amazon and bought one used. Turns out it had been written for Pro Tools 7, and so it sat on my bookshelf for a month or so while I worked through the (reasonably ok) instructional video that came with it. The good news was, I was able to record, to make the program work. The sound was relatively lifeless, however, and I started leafing through Fant-Saez' book to see if there was anything that could be of value to me in it.

Oh, my god.

Hardly anything was different in Pro Tools 8 vs 7. Everything that was different (EVERYTHING) I managed to figure out in 0-15 minutes. So now that I've given you enough background about me so you can judge whether you are like me enough to benefit from my opinion, I say to you that this book is freaking great.

Everything is taught as part of a project--and this is how we think and learn. If we're learning Italian, we don't start out with an Italian/English dictionary. Get one, yes, but it will not teach you how to speak Italian, will it? (If you disagree, please try). And this is how most manuals are written. Thinking of a concept? Look it up, and see it explained in a dictionary-like fashion. But what if you don't grasp the concept you wish to know more about? What if you don't even know what the concept is that you want to know more about? Your chances for solving your problem become slim.

If you are even mildly technophobic and want to use Pro Tools, this book is for you. The author leads you, step-by-step, through several exercises designed to get you familiar with the Pro Tools program. She has a website where you download certain files to use, although you could use your own if you wanted. Do what she tells you when she tells you,
and you will learn a lot. Enough to use Pro Tools LE 8 freely for your own artistic purposes.