Quote:
Originally Posted by crizdee
Actually Steve, could you code one to do almost the opposite? go into mute when the transport is stopped??
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It bears repeating… one of the best aspects of using ProTools is its modular approach in building mixer components. ProTools is the audio equivalent of playing with Lego™. For example, I've been using “auto-muting” TB setups for ever (in both directions). Easy…
Auto-muting of TB Track during Playback
1 - Name a (mono) bus “*PB Key”
“PB” being PlayBack. I use an asterisk to distinguish—and identify at a glance—software paths from hardware ones.
2 - Create a “PB KEY” track (mono)
Put any continuos signal on this track—a low-mid frequency test tone will do nicely. To be frugal with disc space, print a few seconds of the test tone oscillator and repeat the region to cover the entire length of the session.
3 - Route the output of the “PB KEY” track to the “*PB Key” bus.
Use the track’s output, not a send. It keeps this key signal out of your monitoring and printing paths, and is more efficient DSP-wise.
4a - Insert Compressor With Key (sidechain) Input on your “TB Mic” track
Any compressor will do and its sound quality really doesn’t matter at all. What does matter is the the chosen processor be equipped with a “sidechain (Key) input.
4b - Select “*PB Key” bus as the (sidechain) Input on Compressor
In addition to selecting a “Key Source” some plugins require that the key/sidechain function be turned on, or switched from “Input,” or “internal,” etc. Know thy tools.
4c - Adjust Compressor Parameters
This is one of those rare occasions where the sledgehammer approach is preferred. The idea is for the compressor to clamp down as hard, fast and deeply as possible whenever the “PB KEY” signal appears at the sidechain input (which is only true when the transport is running). Like this:
Compression ratio: Maximum
Threshold: Adjust to be approximately 6dBs below the level of your steady key signal.
Range (where applicable): Maximum amount of gain reduction allowed by plugin.
Attack: Fastest setting possible
Release: Slow this down a bit (adjust to individual situations), just to create a smooth “fade in” of the TB mic(s), whenever the transport has stopped. This is especially welcomed by those in a session who are wearing headphones.
NOTE: Some compressors don’t offer enough gain reduction to completely mute a signal. No problem. Once all the steps listed above are completed, it becomes a simple matter of duplicating the compressor insert and its parameters until the required gain reduction is achieved. Option-dragging a plug-in is the fastest way to do this.
Auto-muting of Reverb Returns At Playback Stop
Repeat steps 1–3, as above.
4a - Insert Gate/Expander With Key/Sidechain Input on your “REV Return” AUX track(s)
4b - Select “*PB Key” bus as the key/sidechain Input on Gate/Exp
4c - Adjust Gate/Exp Parameters
The comments I added to steps 4a, 4b, and 4c in the first example, are valid here also, albeit adapted.
NOTE:
Be sure to eliminate (or make inactive) these gates/expanders prior to mixing. Even though your reverb signals will make it through as intended, their presence at this point is undesireable because…
a) you’re bound to unnecessarily color your delicate reverb signals, and…
b) they’re a waste of DSP.
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The possibilities are nearly endless.
IHTH.
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