Pro Tools 201 - The Next Level | HF Tracks | Skillshare

Pro Tools 201 - The Next Level

HF Tracks

Pro Tools 201 - The Next Level

HF Tracks

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11 Lessons (1h 20m)
    • 1. Intro

    • 2. Click Track Beginner's Guide

    • 3. Aux Tracks Part 1 - Reverb & Delay

    • 4. Aux Tracks Part 2 - Pre & Post Fader

    • 5. Aux Tracks In The Mix

    • 6. Groups & VCAs

    • 7. Automation Part 1 - Touch Latch Write

    • 8. Automation Part 2 - Automating On Your Track Lane

    • 9. Folder Tracks

    • 10. Bonus! - Mix Break Down (Why Folder Tracks Rule!)

    • 11. Outro

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About This Class

Now that you have a handle on the rudiments of Pro Tools, it's time to take your skills to "The Next Level". Join composer, engineer, and proofreader of the official Pro Tools Graphically Enhanced Manual, Robert Rodriguez Del Toro, and achieve the next step in making Pro Tools your go-to production tool!

In this course, Robert breaks down the importance of Auxiliary tracks, VCA Masters, and Folder tracks as well as how automation can take your mixes from good to great. Go in-depth and understand the real-world applications of these tools and tracks as we dive into real mixes-in-progress and apply what is covered in the course.

Take the next step and make Pro Tools YOUR D.A.W.!

Meet Your Teacher

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HF Tracks


Hello, my name is Robert Rodriguez and I am an engineer, producer, and composer from the Los Angeles area. I'm here to give you quality content and share the knowledge I've gained over the years with you so that you can become the music professional you want to be! Enjoy! :)

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1. Intro: So up to now, you've got a pretty good beginners handle on Pro Tools. You can set up a session and record, do basic volume balancing and panning. Got the basics down, but now we want to get deeper. My name is Robert Rodriguez, authority. I am a producer, composer, mix engineer, and the proofreader of the official Pro Tools G and manual. And over the next few videos, I want to delve deeper into some topics that will help you really make Pro Tools, your DAW. So in these next few videos, we'll be taking a look at ox tracks in a deeper way. We look at our VCA tracks, Folder tracks, which is relatively new to Pro Tools. We'll also break down in depth automation parameters and how we use automation in mixes. And at the end of it all, we'll wrap it up with a real live look at a real mixing session where we use the things we talked about in the course. So if you're ready for the next step in your protocols journey, join, and I'll see you guys on the next video. Bye. 2. Click Track Beginner's Guide: Hey guys, I thought this would be a great moment and talk about something that I really haven't addressed up to this point. But it's super important, especially when you start getting into recording bigger sessions or more complicated sessions, and that is setting your tempo correctly. So here we have a session Pro Tools that starts off from one tempo and then switches to another tempo in a different time signature. And in this case, the drummer likes having no accent. So let me explain what that means. So I'm gonna go ahead and pull up the metronome here at the beginning. So I'm just gonna go in and soloists, we don't hear any of the other tracks. And ordinarily, when we have a tempo set and we hear the click, it sounds something like this. It has a different sound for the downbeat though, that we do this. Well, we can go ahead and change the sounds by opening up the actual click plugin. And we used classic click accent as the clickthrough out. So now it sounds like this. That's how you do that. And there's a variety of sounds to choose from from there. But let's go back even farther. How do you even set a tempo? When you open a session, that default tempo in Pro Tools will be 120. You change it by going to this red arrow right here and double-clicking it and typing in the BPM you want to use this case we had 150. Remember to do this before you start recording. Otherwise it just doesn't really work right? Immediate record to a click and less A-band is really good at playing in time together. And usually if a band is really good at playing in time together, that they don't really have a problem playing to a click. So we have a song here that changes tempo. So let's listen to that real quick. Let's demonstrate what that sounds like. So I'm going to show you the tail end of this song and the transition from where it changes tempo. So that's the tempo change there. Now how do we add a new tempo so we can add a tempo by overhearing or ruler clicking the plus. So wherever your marker is will dictate where that new tempo. So if I decided bar 97 right here, what's going to be my new tempo? Click it and enter in whatever number. And it would go ahead and make the new tempo. And it will also adjust the speed of my click to create a click track. To begin with, we go to Track, create Click Track. And that's how we get a click. That is how you change the tempo in Pro Tools and how you manage multiple tempos in one song. Once again, to create a click track, he could attract, create click track. No fancy command for that yet. You can adjust the sound of your click as well, as well as the accents, how you want to subdivide. And this plugin on the click track that opens up for you. And you can also change the sounds. So if you have a drummer that likes and no accent like the drummer on this track, you can go ahead and make the sound the same for the downbeat and everything else. I hope this helps you out in your future sessions that you guys for watching. I'll see you in the next video. 3. Aux Tracks Part 1 - Reverb & Delay: All right, so I want to start this conversation by really breaking down auxiliary tracks. We went over briefly about track types in the beginners Pro Tools series. But this time around, I really want to focus and get a little more in depth and a little more practical for you. We have a guitar track and let's just listen to that. When I hear that, I think, well, this track would be better served with some reverb or delay maybe. So there's a couple of ways we can go about it. The beginner way and the way that most people think of right away when they're new to mixing is to just throw a reverb plug-in right on top. So we can do that. There's nothing really wrong with that, but I'm going to go over why. It would definitely be to your benefit to start using auxiliary tracks, thinking of different ways to process your time-based effects. So let's throw something on like air spring reverb. So I'm gonna go ahead and bring the mix to 5050 so we hear 50 percent of the dry signal, 50 percent of the wet. Let's listen to that. And there's nothing really wrong with going about putting your time-based plug-ins like that. At least at first. However, here is why I think doing it using auxiliary tracks is a lot more beneficial and can really make your mix sound cleaner and more intentional. So I'm gonna go to take off this insert. Let's just kinda mix this track as it fills in a mixed. Obviously it's not, it's by itself. But if I were to mix this, I probably do something like this and thrown an EQ. So we're going to do just a low cut kinda thing. Realistically, I'd go pretty aggressive on this because there's probably a base and things happening in the low end. And, you know, there's probably a sweet spot somewhere in the guitar tone where I really like the way it's cutting through a straw and some compression, I'm going to throw on an l2, a type compressor. You really think about compressor types when you have a whole mixed in front of you right now I'm just trying to demonstrate, you know, how, how we'd go about this. Here's where our problem arises. So we have an EQ and compressor. Now if you wanted to add reverb, we're either going to have to add reverb before in which we are going to EQ and compress that reverb mean our reverb track is going into that or we're going to do it after what? We're going to take our compressed and EQ signal and add EQ to it. However. If I decide to add any plugins afterwards, it starts getting messy pretty fast. So we put that spring revert back on, going to get it to 5050. This isn't necessarily going to sound bad, but it's going to be limiting because now anything that I add after this reverb is now going to go into whatever other processing I have. My reverb is going to sound compressed any QED that can sound really cool. But I would rather have more intentional control over it. So without even really playing this version of it, let me create an auxiliary tracks. I'm going to go Shift command, N. Go command, right arrow, make it stereo. Going to go command down arrow. That's an auxiliary track. And with a newer version of Pro Tools, you can name the track right then and there. This is a, I'm going to leave it as a spring reverbs. We in my spring reverb, go in and create it. And boom. Now a couple of tips. Whenever you're in a session. I like to on my auxiliary tracks, solo safe, meaning that when I hit Solo on, let's say the guitar track, or if I had a number of tracks going into that river, if I hit Solo on any of those tracks, it's still going to process, it's still going to send out to this track, It's solo saved. So I'm gonna go hit Command, click, and that's Solo saves it. Now let's choose a bus. I'm going to choose Bus 1 and 2. I would do the same thing here, bus 1 and 2. I'll go over in a minute how to name your buses. Now we have our bus setup. Now we're going to pull up the plugin we want to use. Now here's another great reverb plugin that should come with your version of Pro Tools. It's called habit space. This is an impulse response reverb, meaning that this is basically a sample-based reverb. So you're actually getting more realistic reverb sound. And it mimics various units and chambers and places. There's churches here, there's halls. Now we're going to pull up a spring. We're going to use the vintage springs. And I'm going to go with Spring 1 and 2 S stereo. We have a dry signal and we're going to do using the send over here on the second section is we're going to feed it level. So here's how that sounds. So now the benefit of this over using our plugin. So let's mute this sent for now. So now the signal is not actually going through into this track. So with this kind of way of doing it, we have control over various factors. So let's say I turn on the spring reverb again. Again, there's nothing wrong with the sound. But if I wanted to push the volume of this guitar up, I would have to account for that. I would have to maybe reduce my mix and vice versa. Let's say if I want it to sound wetter, I would probably have to reduce the volume of this track. There's a different kind of push and pull as opposed to having this off. By the way, Command click on a plugin to bypass it really quick. We can kinda more fine tune what we wanna do. So let's say I really want this reverb to slam. Crazy amount cerebrum. I can make that crazy amount of reverb sit in a mix reasonably side. I drove it really hard. I gave it a lot of reverb. You can hear that like spring slap. But I have it sitting back at a reasonable level. That is really important. Km mixed time. Let's do the same thing with the delay. So I want to pull out h delay. It's just my go-to delay plug-in. Nothing wrong with using any kind of delay plug-in. Your stock delay plug-in is perfectly capable of handling anything you need to do. Whatever you're comfortable with is always the best for your situation. So let's have a nice little still really quick slap back. Let's do a 16th note. No feedback. And always want to have, when we're using ox's. For the most part, we keep it all the way wet. You could introduce some dry, but just remember, the dry signal is already living right here in your original track. Just keep that in mind. I mean, there's technically no rules. I tend to usually keep everything. What if I need more of the dry signal? I'll boost the dry signal. Do the push pull thing. Again. No rules though. We've seen people mess of the dry wet on ascend and that makes it sound great. So there's no, there's never a right way to do things. So anyway, let's get back to this track. So here we have a delay. Now, quick aside and a great time to look at naming our buses. This is obviously not a spring reverb anymore. This is a delay. To say delay. Let's say we have a bunch of tracks going on at a certain point, having bus 1 and 2 and having to remember, oh, bus 1 and 2 is my delay. That gets kind of tedious. That starts getting confusing. If you have the memory for it, that's great. I tend to not change the names of my buses when I'm mixing and we'll go through a mix. But it does come in handy very much so here's how we rename buses. Here's the first way that makes a lot of sense if you're working in this sort of workflow where you choose a bus and you're like, Oh, I should go back and name that before I forget, you're going to right-click on the input path and click Rename. And I'm going to name this path delay. And boom, now, whenever I pull up a Send, There's send called delay up here. That's great, That's really useful. Now here's a way that I like to do it That kinda makes me feel like I have infinite bus pads, which you do in Pro Tools. You have an infinite amount of buses, really, especially with this sort of way of doing it. Let's say I created another ox. I have another stereo AUX. And let's just name this reverb solo safe thing again. And just for fun, let me pull up a screen reader. This, by the way, comes with Pro Tools. You should have all the air plugins. That great plugins, they're very usable. Now we have this AUX track setup, but nothing's getting into it. Instead of just throwing on a random bus here at which nothing wrong with that. I do that all the time. We can go here over to our sense section. And instead of outputting to a bus, we can go to a track. And as long as there's no input, this is a very important note, as long as there's no input on the track they tried to send it to. You can go to track and just select it. So I want to go to reverb and boom, and what that does is not only does it assign it to a bus, but it gives it a name. And you've effectively also just created a new bus. As you can see, we didn't lose anything as opposed to the delay where Bus 1 and 2 became delay. So if we hear this and we give it some signal, let me just mute this delay one. Awesome. We have a reverb line going. So I'm going to bring that back. I like giving healthy signals to my plugins. I love feeding a lot of volume into the plug-in and pulling back. And let's see what our delay sounds like. I'm going to pull back just a little bit. Awesome. We have a nice delay. Let's get both of them in. Cool. And the number one thing that I love about using sends is that I can process the effects by themselves. I like to throw on some saturation on my reverbs because sometimes you can get it to pop. I don't quite know it. It'll sound like on this, but it's just a solo source. Let's just try it. So I love using this tape machine and it's kind of driving it and seeing what happens. Awesome. Let's get a little more extreme just for fun. Or backoff on it. In a mix, things like that can really help a part. They can get lost so easily, really pop out. And that's just so fun to do. 4. Aux Tracks Part 2 - Pre & Post Fader: One last note before we wrap up this first video is that on our sense, we also have the ability to make it pre-fader or post-fader and to follow our main panel, meaning that if I pan this to the right, the pan of the sand is also going to go to the right. Which means if I'm going into a stereo plug-in mean there's a left channel and a right channel. The signal is going to be going all into the left channel, all its input, and it's going to come out. However, the plugin decides that it should come out. That is important. But usually I don't really have this setting on. I leave it the middle. Unless you're going for a really intentional effect. Like let's say, I want the guitar to come out on the left, and I want the reverb up the guitar to come out to the right. But the more important thing, pre-fader and post-fader. Now, when we make something pre-fader, that means we are sending a signal before this fader. So no matter what I do to this volume fader, the delay will come out a lot clear with the reverb. Let's take a look at that pre-fader or delay for now. That's just what sigma. And lower them more. Introducing the dry. This is something that is really, I guess if you want to think of a way to remember this technique to this way of processing your stuff. Think of oldies, like very old, figured like the 1950s recordings where they do a fade out and as it faded out your heard more reverb. That's what they were doing. They were using a pre-fader send and slowly on their track where they had the reverb coming back. They're pushing that fader up while they lowered the master mix down. And in the end, you just got this like reverb wash. And that's how they would do that in our world. I mean, That's totally a perfectly great way to end a song. I've done that before, it's fun. But we also can think of a lot of other creative ways to do this. Like right now we just have a straight up reverb. No dry signal, or very little sack can make for some really fun and cool effects. And I hope you guys try this kind of thing in your future. Mixes the hae guys for watching and I'll catch you on the next one. Bye. 5. Aux Tracks In The Mix: Hey everyone. So we broke down how we go through auxiliary tracks when we're trying to use effects like reverb or delay. But how about for just simple mix routing? So the way I use auxiliary tracks, most commonly in addition to reverbs and delays, of course, is I use them as my instruments subgroups. So let me explain. I have kick snare, right, and crash on this track. And if you look at my routing, every single drum track is going to a bus called drum Some. Now where is that? It's over here. Trump's on. This track right here though, is an auxiliary track. And instead of the plug-in on this being a reverb or delay, it's late and I have a channel strip emulator and a compressor. Now, why do I do this for an instrument like drums, for example, you want the instrument to sound cohesive and grouping it together is a great way to do that. So I group that together, but you don't just stop there really. You can go ahead and do that to all the guitars. And within this huge bunch of guitars, there's a bunch of subgroups inside there as a guitar melody, There's some clean rhythm guitar section. But ultimately, if you go to those auxiliary tracks, they're all going to one big sum. So my system is basically, you make a core set of auxiliary tracks. So I know in this track, I have drums, I have base. I'm not going to make an ox for that because I don't need to. There's only one bass track. We have guitars, we have synths, and we have vocals. So I'm going to make auxiliary tracks for all of those tracks. And those auxiliary tracks, we'll go into my mix bus and I use a mix bus instead of a master fader. So if we go here, there's my mix bus, and I mixed bus goes to my print track. So when I'm done mixing, I print the mix, I press play, and I let it go all the way out. People bounce, nothing wrong with pouncing. I was just taught to print. So anyway, let's break that down some more, starting with the drums because I'd be simplest. Let's just hear those back. So I'm going to mute my base, knew my guitars since see the same thing for the vocals. So when I hit Play, we're just going to hear the drum track. I figured out what happened. Now we froze there because we're running a pretty heavy session and quick tip and I've mentioned it before on how to avoid that kind of thing as much as possible. I'm going to hit option on this waveform little thing. And I wanna make sure everything is a block. It uses up computer power to display a little waveform there. That doesn't really mean anything other than showing you where the waveform is hitting and all that kind of stuff. That'll save some energy. Let's see if it works now. And we heard some other pieces because as the session has gone on, it's gotten more complicated. So there's reverbs going in places where basically I would have to go in much more detail and a bunch more stuff for you to hear, just the drums, but you get the idea. So the drums, the routing is pretty simple. I selected all my drums. I hit Shift Option, went to my output and outputted it into the track, actually the track called Drum some. Because before I did that, I hit Shift Command N and created a stereo auxiliary track named a drum sum, made sure that there is no input on the drum Some initially. So this had no input at first. And once I had my tracks in, by then routed it into drums. Awesome. Now let's go a little more complicated. Now for the guitars, I had a lead guitar as well as a particular set of rhythm guitars that I wanted to process separately. And a bunch more stuff. There's even some guitarists called extra guitars. So at the end of the day, I broke it down into different sections. So if I scroll way to the bottom here, there's guitar, some, I'm gonna go ahead and unmute that. I'm muted my drums. So now we should just hear guitars. So here's what that sounds like. So all of this is going into this track called the mix bus. The mix bus is the ultimate master fader, pseudo master fader because it's not my master fader. And the reason it's not my master faders because I put stuff on my mix bus and putting something like a saturation, as you can see here, actually got a little bit of stuff going on. And then going into some compression and spatial stuff and a tape machine that is affected by my fader. If I use a Master Fader, however, look at the hardness of this compression. There is some compression, yep, they're moved. This, mixed it and call for any hard compression. But the key is that it's not affected by the level of my mix bus. If I were using a master fader, that needle would be going up and down like crazy. So that's why I don't use a master fader and why I use ox tracks instead, that is why I really wanted to make sure that a lot of this course was focused on the importance of ox tracks. There are kind of the Swiss army knife of tracks. They do what a VCA does, but they also are the backbone of a hole here, spatial effects. And there are great organizations who are using that in combination with groups and just responsible gain staging. You can take a mixed I would otherwise be just completely chaotic and huge and really simplify it so that you can have your mixes done faster and probably sounding better than you guys for watching. And I'll catch you guys on the next video. 6. Groups & VCAs: Hey everyone. So now it's time to talk about VCA tracks. So we went through auxiliary tracks and their importance and how vital they are to the mix process. But now it's time to talk about VCA is, well, what are BCAAs? So VCA tracks date back to the era of console. In a way they're very similar to ox tracks and that they're just another path for you to put signal in. However, in the analog world, they actually were quite different. They were voltage-controlled amplifiers as opposed to attenuators. That sounds super technical and confusing. And really in the world that's no longer relevant or not using actual, you know, amplifiers and attenuators in our virtual world, we're using digital signal processing. So why do we use VCA tracks? Well, if we bring it back to console days, VCs were the centerpiece of a large format console. So if you had a big old SSL with 48 tracks on it, the VCA section would be right in the middle. This was good because you can go ahead and flip the groups on however you wanted to. So you put all your drums in one group and on the fader, there'd be a little switch and you would push that switch and you'll go number 1, 2, 3, all the way up to eight usually. And the VCA masters would be the centerpiece. So you're able to control those main groups from those faders. Another big clusters that if you hadn't 48 to 64 channel console, the technology for automation was there, but it was pretty expensive. So how do you cut cost? We'll just use automation on the BCAAs. So a lot of these console's with VCA masters had automation. Now in our world you may wonder, well then why do we need VCs? Well, truthfully, you kind of get away with not using them, but they do offer a gray lasts layer of falling control. So if you have a whole mix going and let's say you've even been automating your ox tracks as I often do. And you had a certain point where you're almost done, but you get a note back from your clients saying, I really want those drums two dB quieter. You go to move the fader and it comes back up because you have a bunch of automation happening throughout the track. So what do you do? Well, if you grouped everything right from the beginning of your mix, you could just pull up a VCA and bring everything down to DB. And in addition to that, you can use it in the traditional way. Go ahead and do your volume automation moves on your VCA tracks. These are just some of the ways is VCs are really great. It's also really good for easily soloing groups of instruments and stemming out mixes. So I want to take this session, which is a super bare-bones demo session, and I just want to set it up, or VCA is basically so as you can see, I don't even have ox tracks go and so let's have a little review and just go ahead and set up this session. I'm going to go ahead and create an auxiliary track, stereo auxiliary tra. This is going to be the drum sum, as we would do for create an ox tracks. I'm going to go ahead and move that down here. I like to keep it at the end. Always solo safe, your auxiliary tracks, I'm going to click and shift click to the last drum track. I'm going to hold Shift option. And we're going to go into the drum Some track. This is the preferred way of creating buses from my auxiliary tracks. As demonstrated earlier video, you could go to the buses, select the bus and move on from there. But I also said in the earlier video that I don't typically name my reverb and delay buses. Well, that's because I tend to save the numbered buses for my delays and reverbs. And when I'm creating my auxiliary groups, I just go ahead and go to the track so that it automatically creates this new ox track. There's my drums some, I'm gonna go ahead and group these keys. But first I'm going to create an AUX track for them to actually since someone to call it since some. And let's make those colors identical. Nice, Let's route that. And I'm going to do this to the rest of it. And over on your end, it's just going to be all sped up. Cool. So everything is basically routed. Now let's group, I'm going to group everything including the auxiliary track. I usually make moves on my ox tracks anyway. So I wanna make sure I'm keeping that in mind when I use my VCA is. So again, I selected all the guitar tracks including the auxiliary. And I'm gonna go ahead and hit Command G that opens the Create Group Dialogue, going to name this group guitars, that comes out as group C. Group a is drums, group B is most. Now let me explain before I go any further what the most group is. So the way I like to start a mix is I like to put down all my faders and bring them back up. The easiest way to do that instead of, you know, lowering every single fader one by one, is to select every track before you create your auxiliaries. By the way, that just makes it a little easier and hit Command G and call it most. You can lower everything down to 0 and then mix from there. And it's safer than using the all group because the OH, group can get funky with your auxiliary tracks and everything that you have going on as well. So I have a most track, just a quick note case you didn't already know your groups are located typically on the bottom left of your edit window. And I'm going to mix window. Let's go ahead and group are keys, command G. We're going to call this synth. Now I only have one basis. But if I'm thinking ahead of time and I want to be organized and have all my VCA. Is it next to each other? I'm going to go ahead and just group that by itself, base. And I'm going to go ahead and take all my drums. And actually, instead of taking all my drums, because if you remember, is already a drum group, I just need to include this guy. What we're going to right-click on the group, hit Modify, and on the right side of this menu, which is the same menu, even seeing. There is a section that says currently in-group and another section that says available currently in the group, we have the kick, snare, tom, and hat. Now we want to add a couple tracks. I just noticed I probably added crashes and rides after the fact I was building a B out of samples. So let's add those as well. We want those. So I want to add to crash Shift-click, I want to add the ride, Shift-click. I want to add the lump-sum. Hit add. That now becomes part of my group. And now let's create some VCA tracks. So I'm gonna go ahead and hit Shift Command N. And let's see, we got the drums, the guitars, since and base. That's four tracks, four groups, and recreate for VCA tracks. Now it doesn't matter if it's mono or stereo because we're not creating a track with the panning pot. We're really creating a group, a group processing chain. It's hard to describe, but it relates to the analog world and why VCA tracks exists to begin with, when we create these tracks, you're going to notice something that's different from a regular track. So let's go ahead and hit Create. And if we scroll all the way down, we have VCs. So we have four VCs. And notice that there are no places to put inserts, no places to put sends, and there's no pan pot. Now if we go to the input section, we can select from our groups. So I'm gonna go ahead and put drums on one based on two guitars on three, since on four. And now we'll have the signal. So if I hit Play, so already you can kind of see how that workflow works. So now I can kinda mess with the groups as a whole. If you look at this fader move right here. So VCA three, I have corresponding two guitars. And of course, we can name these tracks. When I move this fader, all the faders move as a group. Now from here, instead of doing my automation on pieces of this mix, I can do automation here, so I can enable an automation mode and go ahead and write in some automation. Cool thing is that if I'm making stems for something, so let's say I only want to drum stem. Well, I'm gonna go ahead and just mute the VCA is instead of muting all these groups, having to scroll through the whole session, well, it's all in one place now. So I'm gonna go in and create a stereo audio track. And it's going to be my print track. Obviously there's the world of bouncing and that's all perfectly good. But this is a VCA tracks are kind of an old school thing for an old-school workflow. That if you live with it, if you like it, you should use it. It could be the workflow that works perfectly for you. So I have this print track. Let's route that out from the mix. And I'm going to input monitor solo safe. And let's just record it. So I have all the VCA is muted except the drums. Now I have my drum stamp. So there you go. That's a great way to print stems as well. Vca tracks are kind of a thing, not in the past, but they're just not used as commonly as say, auxiliary tracks. I personally don't use them that much. But what I've kind of done in learning about BCAAs is I've basically decided to use ox tracks like VCs. I make my subgroups and route them into ox tracks. And I do my automation a lot of the times on the ox tracks, but something that VCs can't do but ox tracks do is that I can process them as well. I can have my inserts going on a group and process an entire group together. That's all for this video. And I'll see you guys on the next one. Goodbye. 7. Automation Part 1 - Touch Latch Write: All right, everybody, it's time to talk about automation. So as I said in the video before, one of the main reasons you would use VCA tracks is for automation. Now, how do we automate? So in order to automate, we need to know our automation modes. I'm in the mix window and in the mix window, we go to this section underneath power output section. And our default automation mode is read. And what Reid means is that it's going to well read what has been written. So when we write in animation, we do it through three different methods. There's Touch, Latch, and right. And really for because right is really used to overwrite anything you have done. And the third method that you can't see here is to physically write it in a 100 edit window. So our default is read. Now let's go through and talk about touch. So I'm going to hit touch and run. Now the VCA I have selected is base, but we can do this on any track by the way. So if I wanted to do the same automation mode on the kick track, I could, I can just go to that same section. Hit touch and boom, it's enabled. I'm going to set that back to read. And I'm gonna go ahead and solo my bass track because that's really all I want to hear right now. And before I hit Play, let me just show you what this looks like on the edit window. So hitting Command Plus, I'll go ahead and full-screen that. And if we go down here, there is our automation mode. So I clicked on it, it touch on the other tracks because they're set up small. This little icon is small, but it should be there as well for you guys. So I went ahead it touch and I have it's soloed. Let's hear that. Now I'm gonna go ahead and perform some automation. Here's what happens when I release the mouse. It returned to 0 because that's what it starting point was. And that's the key to touch mode. Now, let's take a look at what happens when we use the latch, releasing the mouse. And it stays where it's at until I move it back up or until I hit stop. So you can see after that point it returns. That is the key to latch. Now let's say I did this and I messed up. I don't want this. I can overwrite it by hitting, right? So I'm gonna go ahead and hit play. And it just rewrote that automation. Now, the reason we can see the automation happening visually is because on a VCA track, it displays by default volume. Now if we go to any other track, let's say our guitar track, as you can see, the same option here, the track view selector, as it's called. It defaults to waveform. But if there's not a waveform to display, like here on this ox track. Default will be volume. It also has options from you, pan left and pan right. These view selections are great for automating as well. That's how we're able to automate physically on a track line. Now, one important note before we wrap this video up is that when you are not automating, always remember to set it to read. Because what Reid does is it reads the automation out for you. So it's going to perform the automation without anything potentially getting in the way. So if I try to put the volume up, I'm back down because hey, that's not where it's supposed to be. That's basically what the computer is telling me. Hitting off essentially does just that it turns the automation off. So if you look closely, there's a faint blue line that just reset. And what that's telling me is that, Hey, right now that you have the automation off, we're going to take away the automation you've performed thus far. And so when I hit Play, the volume is not decreasing. Now. Now this can be done with any automation parameter as well. So if we go to this kick track for example, and I'm going to hit latch and a solo the kick. Now the three automation parameters that are enabled by default, our volume and pan, that means I don't have to do anything other than performing the automation to that kind of move in. So right now I set it to latch and I went ahead and set it on the kick. So I'm going to just mess with the panning of the kick. So I perform that. Let's hear it back. So there you go, perform some, some Pan automation. I could also do that with mute as well. And you can really do it with any bit that you want. Now I want to write over it because I didn't mean to do that. Let's say I want to make sure I write it correctly. So I'm gonna go ahead and go to the pen section on the view. And there's a couple of ways I can do it. So I showed you the way was writing where I hit rate and I just hit play and let it run through. But I can also just go ahead and highlighted. So when you see this kind of cursor show up, you click and drag. And I'm just going to hit Delete. And boom, that gets rid of the automation as well. And now let's say I want to automate EQ to be off at a certain point in the song. Now in order to automate your plugins, and you can do this with any plug-in as well too. You're gonna go to this section here. And this is where you can enable plugin automation. So when you click on that, you get this plugin automation window. And I'm gonna go ahead and hit master bypass and add it so that now it's affected by my automation modes. When I decide to enable them, I only want to do bypass, but I can do every single piece of this and be careful because it can get out of hand quickly. You can also select all if you know you're doing and you know, you're gonna make specific move. Just remember, always reset back to read. When you're not automating, you'll usually catch yourself in volume. You'll realize when you've messed up, but you won't always realize when you've messed up, when you're doing it to an EQ plugin. As you can see it highlights. And I'm gonna go ahead and label it for a latch. And here we go. So you're going to see this term blew over and over again. And that's how you'll know it's working just out of habit. Let's switch to read and just take it a step further. When I click the track view selector, a new parameter called effects be EQ 37 band comes up and it tells me the specific parameter that I'm able to now visually see. And so I will go ahead and didn't take it that time. So go ahead and click on that. And now I can see that I made those automation moves. So now you can actually physically see that I am hitting bypass and I'm bypassing it. And it's recorded. And again for one, delete it. And we'll go ahead and hit delete. Boom, it's like it never happened. Hope this helped you guys. And I'll catch you on the next video where we will talk about automating rate on our edit track. Let's thank you guys for watching. Goodbye. 8. Automation Part 2 - Automating On Your Track Lane: All right, so now we're going to automate on our track lanes so we know how to do it using touch and latch. But how about doing it on the track lane itself? This can be a great way to mix on the fly and a great way to make really precise moves when you get into really deep mixes. And you want to maybe time something to mu at the exact moment, right on the beat or something like that. This is the way you're gonna do that. I'm going to perform this by going to a specific group. I'm going to choose the guitar sum. And the reason we don't do this just because I already have the volume track B selector displayed. So here are the guitars. Alright, so let's get to automating. So I want to lower the volume, you know, on some of the hits. So quick way to do that. I have volume already selected. I'm going to hit command and you'll see this little hand with the plus come up. And I'm going to add a point. Now, if I start lowering the volume from here, it does this big kind of dip thing. I don't really want that, that can get out of hand quickly. Instead, I'm going to add another point wherever I want the volume to stopping raised. When I do that, I get this little bracket that comes up. And as you can see, it's only going to affect those two points. And now I can make my move more precisely. And again, we can do this with any parameter. Now let's do this with mute. Create a point there. Let's create a point here. And another one here, and another one here. And now it's gonna mute there. And it's going to be here. And you can hear it now. See you notice the sound dipped out really dramatically. Here's a tool that will actually help you get some kind of cool effects they may not have thought about before. Now if you go up here to our pencil tool, It's such a free hand. So if you're one of those people, I'm gonna go ahead and set its volume. If you wanted those people who has a really steady hand, you can make your automation moves manually. So you can see there and made a, made an animation move for me. Or even, even cooler, you can select a pattern. So when I hit right-click on the pencil tool, I have this variety of patterns to choose from. So here at freehand, there's line which goes into a line that's great for creating fade outs. Triangle which follows a triangular pattern, square random, which this random parabolic S curve also great for fades. Now let's go ahead and do triangle. And before we do that, let me clear the automation that's already there. Now, you may notice when you get into this mode that when you go and try to highlight, you're like, wait a minute, where did my cursor go? Well, you're in pencil mode in order to switch back, either select the proper tools to select your selector tool. Or more commonly, go to the top part of it here, to that little empty space. And it'll select your main three tools, your grabber, your selector, and your trim tool. So now I have all those options there. Highlight, delete also could have went to write, hit play and reset it. But I want to use my pencil tool now and it's going to make these moves based on the grid. So I have it set to grid and habits, and I have my grid value over here, set to quarter note. Let's set it to 1600. So now it's going to make this pattern based on 16th notes. And there it is. And if I drag down, it's going to be more dramatic. If I drag up, it's going to be less dramatic. Let's go somewhere in the middle. Let's hear that. So it's pretty intense. This is a really kinda fun extra thing you can do and automation that, you know, when the situation arises. It could be just the thing you need. It could it could be just the tool you need to help you finish mix. But in addition to that, in general, automation on the track lane is very handy, super useful for making big group moves. If I know I want to lower all the drums in this section and I have my ox track for that. You know, this is easiest. Click in on there and on there. And we're like, All right, this section of the course bring it down a few dv, t. Got it, perfect. This is super useful. A very, I guess in a way, unglamorous kind of boring mixed technique. But one of the most important ones you can think of, I mean, automation is what creates movement in a mix. And it can be used not just in this volume pan and basic kind of way, but it could also be used for specific effects. I often will boost like the feedback of a delay and automate that in. And I'll use the same techniques for it. Thank you guys for watching. And I'll catch you guys for the last part of our course, which is a discussion on Folder tracks. 9. Folder Tracks: Hey everyone, Now it's time for Folder tracks, and this is the last track type that we're really going to go in great depth about. What is a folder track. Well, it's something that's relatively new to Pro Tools, but not so new to Dawes like logic. So basically a folded track is a way for you to condense your session into smaller parts. So when you have a screen that gets us busy or something like this, you can reduce it. Just a few tracks displayed on your screen, which can be so much easier to navigate. So let's break down the two different types of track folders. So the two different types of track folders are basic and routing Folder. So in a basic folder, it's pretty limited. We have a track that has pretty much nothing on it other than the ability to solo it or muted. And you work it by just dragging the tracks you want into it. And from there you have a folder that you can open and close. Very simple. There's no, there's not even a volume fader to work with. Now when we get to a routing Folder, we have everything that a basic folder does, but with the capabilities of a bus, with the capabilities of an ox track. So this time we do have an input and an output to send it to. So not only can you drag your tracks in there, but then you can tell the tracks to go into that Routing Folder is you can go ahead and control the volume. You can do your automation moves there. In a way it's combining the best parts of using an AUX track and a VCA track into one because you also still have that soloing capability, which you don't really have when you just use ox tracks in Pro Tools because of the way the in and out routing works. So let's go ahead and try this. So I'm going to pull up a basic routing track. So I'm going to hit Shift Command N with the basic folder. It doesn't really matter if it's mono or stereo because there's no mono or stereo to select. If you do a routing Folder that changes, you have your mono stereo and even your samples are ticks selection. We're going to do a basic folder. So that's a Create. And that folder pops up right here. Now, I want to put all my drums inside this folder. So here are all my drums. I'm going to include my ox track, and I'm going to click, then Shift-click the last track I want in there. I'm just going to literally drag it inside the folder. You'll notice that it highlights right here, you get this little yellow box. And boom, that's it. I can name this drum folder if I wanted to just do that for now. And there we have it. We have a drum folder. And if I click this little folder icon in the bottom left, it closes it. Alternatively, I can also right-click and click close. And it will close the folder, click Open. And it will open the folder. Here is something that is similar to VCA tracks. Now before when I had a, an AUX track routing kinda situation, I had this ability. So I'm going to hit play and I'm going to mute the group by muting the drum Some track. Because just to reiterate, all these tracks, Hicks, snare, tom hat, crash and ride are going into this ox track. And then from there they go to my master fader. So let's listen to what that sounds like. So we'll go ahead and keep them. Now I don't hear the drums. But if I tried to hit Solo, you'll notice I can't really do that. Because when I hit Solo on an AUX track, while I'm telling it to solo the ox, which in turn mutes every other instruments, including the drums that are in that group. So I'm not going to hear it unless I go through and solo everything. And you may say, Well, hey, isn't that what groups are for, you know, you can just hit this or even more so isn't how what BCAAs are for and that's totally true. That is why VCs are for. But here's what's cool about routing folders that it does the thing that VCA is due, with the advantage of being able to also condense it. So boom, look at that. All my drums are little, one, little track. Unless I decide I need to open it up. So now from here, I can actually solo it. So this is full mix and I'm going to solo it on a muted drums just by themselves. No drums. So that's what a basic folder does. Now, let's take a look at a routing Folder. So I'm gonna go ahead and open up a new track. And this is going to be a stereo Routing Folder. So make sure you set it to stereo or else you'll just be routing into a motto folder. Now here's the key difference. So I've created the stereo folder. And this is basically the same as the original folder we made. I'm gonna make this one for the guitars. This is the same as the original folder we made, except now it kind of combines with an AUX track and a VCA because we also have a volume fader. So now we can do the automation moves and the soloing and muting like the VCA tract does and like an ox track does with the added plus, hey, I can also make my session look a lot smaller and a lot less chaotic. So I'm going to go ahead and take all my guitar tracks, select Shift click. And I'm going to drag it into this folder. And now let's name this folder, guitar folder. So before we get started messing with this, take a look at how right now it works just like a basic folder. Second solo it. And it's receiving signal. You can tell by this little box. But it's only receiving signal as a folder. If you look at this section right here, the usual kind of volume meter that ox tracks and every other track type has. You'll notice that there's nothing happening. Well, why? Because this section and the whole point of a routing folders that you're now able to route into it as well. It works like an ox track. So if you look to the input and outputs, you'll see he creates a bus. And right here it's called folder 1.1 because earlier when else kind of experimenting with it, I created folder one. So by default, when you make the same type of track in Pro Tools and the bus has already been created. It'll just add a 0.1.2 at the end of stuff. Now, the way I have this session setup, I already have all my guitar tracks going into a guitar some. So instead of routing each of these tracks into folder 1.1, which is a bus that a Folder track automatically creates. I am going to just go to my guitar some because that's where all these are going into. And instead of that going to the mix, we're going to have it go to folder 1.1. And then over on My Folder track, I want to make sure I'm sending that to the right place. Now if you just use a conventional master fader, it's probably already defaults to 12 by itself, and you really have no problem. However, the way I like to work a mix in Pro Tools, I send it to an auxiliary instead of a master fader. And I call that my master are usually called the mix. So I'm going to send the output of my Folder track to the mix. Let's go ahead and do that. And now it's routed. So now when I hit play, I should see signal coming in on this routing Folder. And not only that, but I should be able to control the volume as well from here. Now if you don't do that very important step of routing the tracks into that bus, then you can't actually do the volumes stuff that's super vital that this process, in fact, when I was first learning how to use these, that was somewhere where I was stuck. I was thinking, well, why do I have the option to have a volume fader if I can't even use it or a pan knob if I can't even use it. Well, it's because this whole section right here, it's separate from your conventional Folder section. The Folder section is just this guy. It's literally a packing folder. It's condensing it with a lot of flexibility and a lot of coolness that basically VCA track does. So those are the main track types. We have your standard audio track, which we've already kind of known about. There's a couple of midi tracks in this session to talk about that in the beginner's guide to Pro Tools. Here we really go into depth on auxiliary tracks, which are very useful for many applications, whether it be using for effects or using it for sub-mixes the way I do. And then we have VCA tracks, which can be a great extra step of gain staging and can be your hub for doing automation on the volume side of things. And then there's Folder tracks which are new and they kind of combine the best of those worlds where you have these routing capabilities that are similar to ox tracks. And VCA is really, but in a much more streamlined, modern condensed way. So that's the rundown and Folder tracks. Thank you for watching. Goodbye. 10. Bonus! - Mix Break Down (Why Folder Tracks Rule!): Hey guys. So now I want to take a look at a real life sessions. So this is a session I'd been working on, and this mix is pretty much done. But I just wanted to break down the kinda real-world stuff that we're using here. So in this track, I'm using auxiliary tracks everywhere. I'm using a lot of automation, but I'm not using BCAAs and are now using folders. And really with the flow that I'm going with, if I already use one or the other, the one that would actually benefit me more in this situation is a folder track. If we look at the session over here, we have quite a few tracks. So I'm just going to slowly scroll through. And as you can see, There's a lot going on here. And so a great way to make things a lot clear is, well, I could use VCA tracks like I can create those VCA tracks, have him at the end of my session. And I could do any fine tuning and leveling from the VCA is, and it's all right there. And I don't have to scroll all the way up to the top of the session or all the way down to the bottom of the session. But why not use something smarter, newer, and just better overall and use a folder track? I can definitely see as I've gotten more familiar with Folder tracks, how they're just super, super versatile and super-useful. And they kind of removed the need for VCA tracks in my opinion, but opinions aside, let's apply some of this before we do the creation of the folded track in this session, I'm going to go from the top and kind of break down what's going on. So the easiest thing to point out would be the drums. I usually color my drums red. It's usually at the very top of my session. We have this kind of loop thing and it sounds like this. And that's pretty much the drums throughout the entire song. And the way I have it routed is this. I'm going to select all of these. I'm going to go all the way down to the tambourine. I even have this track called clapped verb, which added really late in the session. That's basically just emphasizing some of those snare hits to give it a little more variants. And it's all going into this track, the drum sum, this is an auxiliary track. And on the auxiliary track, I have some processing, so I have a preempt and I'm driving a little bit. I have this neve type EQ, and I have a depressor type compressor. There is some automation that I wrote in and I just wrote it in on the lane itself. So on the track view selector, it sets the volume automatically on an auxiliary track. If I did automation on something like the tambourine, I can select it here. It defaults to a waveform, but very important tip that I've said before in this course, when you start running out of CPU power, when you start running into the program, freezing up on itself, doing little things like switching your tracks to blocks or freezing your tracks like I did here, by hitting right-click and clicking Freeze could free up a lot of space. Also, if you don't want to freeze, you can also hit Commit and it'll just print that trach out, it'll bounce it and put it in its place. The reason freeze the schools because I can easily hit unfreeze and that track is laid back out with all the plugins on it. Technically, that's the case when you hit commits, but you have to go back in to this Tracks menu right here. And find it in reinstated and do this kind of stuff which gets, which is a little more tedious, but they're both perfectly good options. So that's the way the drums are routed. There's a bus on the snare. It's first off, there's one rewrite here on Bus 3 and 4. And if I scroll all the way to the bottom of my session, I can see what bus 3 and 4 is. It's this river right here and that reverb space, and I'm using a spring reverb. And on that spring reverb, I have this dynamic EQ filtering out the mids. Dynamic EQ means that this band is a Compressor by itself. This is a great free dynamic EQ to TDR Nova, amazing EQ plugin. And then underneath that I have sound toys to cavitate or a saturation. Driving your reverbs is really fun, really cool, very good sounds on that. This right here, this reverb track is also an ox track. I created an ox track and I put it under bus 3 and 4. And this delay track, his bus 56. Why don't I use 1212 is being used somewhere else in the session. So underneath that I have the base. And the base is the only bass instrument in the mix. Some people group their base with their drums into a sum and they'll include that in their processing. I don't for whatever reason, I just give it by itself. I send it to the mix. The mix bus right here goes all the way to the bottom again into this track called mixed bus. This is basically like my master fader. Does everything a Master Fader does except when I lower or raise the volume on this fader. These plugins are not affected by it. The plugins are pre-fader. While on a Master Fader, the plugins are post-fader, meaning that if I raise the volume, if I raise the fader, it's going to put more signal into something like a compressor, which might not be desired or the other way around if I lower the volume, so if I do a fade out, but I still want it to do the same amount of compression as it's fading out. Well, that's a problem if you use a Master Fader because we're going to be taking away signal from the compressor. Now with an auxiliary track, we don't do that. The effects are happening pre-fader. So that's why I use an auxiliary as my Master Fader. Now on to the next set of instruments. And if I remember my own order correctly, I usually use since next. But in this case there are no sense on this track. It's all guitars from here on out and vocals. So let's take a look at what we got here for soft as this track called trim guitar. Sounds like this. I'm gonna go ahead and solo it. Hi Beatles guitar. It's just the guitar that reminded me of something out of a Beatles record. So there's those tracks, and these tracks are going into the guitar some, the guitar sum is the biggest ox track here because there's so many guitar tracks and I have other auxiliary tracks holding other guitar pieces. But ultimately, all of those guitar tracks we wind up here in the guitar, some on the guitar, some I have virtual mixer correcting some EQ compression. And I have the J 37 waves and doing some saturation to the entire guitar group went back up to the top. These guitars going, it's our sum. Now we have the melody guitars. So there's a couple of sections that feel like Melody sections. And those are going into the melody, some moving on here we've got the rhythm guitar, so there's two rhythm guitars and they're playing pretty much the same part. So I group them, sent them to an AUX track and they're doing their thing right here. So rhythm guitar some has another instance of Virtual Mix Rack and a 137 for some saturation, doing some fine tuning to the level here. I even reduce the pan because I thought maybe it's a little too wide. And that's how that goes. And then from there it goes out into guitar some again. So I'm going to press play on this session and the entire some of the guitars and I'll play with the volume even you can hear how, yes, all those guitars are going into one ox track. Now if you hear that little guitar lingering back, well that's actually a delay. So if you look here, we have Bus 5 and 6 on these melody guitars. And that is going to write here this delay, Bus 5 and 6 h delay. Now that goes away. If I mute those tracks, you don't hear that. That's just some important signal flow stuff you have to remember in Pro Tools is that if you're doing the routing this way, we're using auxiliary tracks. Be mindful of where you place your buses. This is especially important if you're doing sub-mixes, like you're doing stem mixing. If you're, if you just want a stem out everything but the guitars and you forget to those melody guitars, well, you're going to have some reverb leakage and that's not desired. Make sure you know where stuff is. If you hear problem, try and find where that problem is living and root it out. So moving on to the next instrument section, we have the vocals. Now, we have the chorus vocals. So I have an entire section for that, and it's called the cores Vox bus. And in that bus, I'm actually doing all the processing. And that's all I'm doing. Some people do more logo vocal by vocal and you can't do that. But if the forms is good enough and you feel like you've already gotten a lot very far, which is volume and pan. You can probably bet that you can do just group processing. Think about this in a kind of old school way where you had a console. Well, you could eat you everything and you probably will, you probably at least do a filter, low filtering cut out the lows. But other than that, you might have a really limited amount of gear that you're working with, especially considering a full mix, you also might have a very limited track count. So how do you deal with that? Well, you group it together in something like a bus and you go ahead and process that bus by itself. So I am using the ox year and I have my preamp emulation, my EQ, my compression. And it's doing all the work that I needed to do for the course will be awesome. So that's the entire course vocal sound. Reverb on there. I used Bus 5 and 6 again. And from this ox Vox bus, it's going into the Vox some. So again, there's this big master group, which when I'm starting a mix, there's no sub-groups. I don't have it. I don't have the course Fox bus made yet, but I do have the Vox some I do have the big thing at first. And then when I start getting into more mixing, I'm like, okay, this section of the song needs its own group, needed its own processing. But I'm just mindful the entire time that ultimately it winds up in the Vox some. So from there, we're going to reverse Fox, going verse Fox into verse some. That has some effects going on, as you can see this for some has a pre-fader kinda move, and that's Bus 1 and 2. What is Bus 1 and 2 doing? It's doing a crazy little warble effect. So later in the song, when the verse repeats, I thought it needs something different. So what I did is I automated this JS 37 tape machine to do a really crazy war Billy vocal effect. And I also decided to send it to this bus. That all it's doing here is also shaking head. It's going up an octave and using a different reverb here I'm using calorie Rubik, great free reverb. And let's hear what that sounds like. A j 37 is turned on. A two is on now, I'll make him bad seizure. Octave up, sound mind. And that is an effect that just used for that moment. But in that moment we are using auxiliary tracks to kinda signal and do some more processing. We're using some pretty cool automation where we're using the tape machine, we're automating it on to do a warble effect that isn't there for the other Vs. And then over here, we're also bringing the volume from basically not audible all the way up here so that we don't have to automate this on, although I could've just did new automation here. Now, that would've done the same thing if I would have said it to latch. So I'd go here, hit latch, and I could practice the same effect. So now moving on, we have these various speed vocals which have their own bus. So these used very speed effects. And this is what those sound like. Smile and just really aggressive saturation. But in the mix, the idea is to make them sound really up-close and kind of envelop you. So this is what they sound like in the mix. Moving on, we have the very speeds, some doing the saturation thing, not much else. I don't even have low cuts happening, which is why I kinda sounds dark, but this is kind of a low fi sounding track, at least that's what the client wants. And so that's what we're doing here. We have these harmonies and I have a whole bunch just for that little section because, well, it's 1234 tracks, but they're all kind of filling out the same role so I can process them together. And I have Virtual Mix Rack and real ADT on that, which is this cool old school flanging doubling effect. And that's the vocals. There's also this reverb right here. And that reverb comes in on Bus 9 and 10, which is here. It's just for the harmony section. And you'll notice that even the reverb is routed Suboxone as well. So if I know I have a special effect inside forges that group of instruments, I'll also send that effect to the sum, to the vocal sum in this case. And then there's also the synchronized vocals. There's a sink Vox bus that goes here and ultimately goes into the box. Some slept of label, which is doing its own thing going on the VOC some as well. And those are the vocals. And from this bus, again, we go into the mix bus, and that is the basic routing. So now if I wanted to clean up this session, because it's sessions really huge. And I wanted to maybe just have control over everything in a much more easy, fluid way. I would make some rounding folders. I could make VCA is, and they would do pretty much the same thing because I have my groups already set up. But if I just don't have my groups setup correctly, then what do I do? Well, pretty easy way to avoid that whole issue altogether is just to create some routing folders. I have the drums, we have the guitars, and we have the vocals. Those are the three big sections. There's a base, but it's only one tracks. So let's create three of those routing folders. And those folders should be here at the bottom. Yep, There they are. One of them is going to be called drum folder. The other one will be called guitar folder, and the last one will be called Box folder. Before I get really confused, let me make sure that these are all routed to the same place. Somebody hit Shift Option. And all of these folders, I want them to go to the mix. So now as you can see all these folders, their output is going to the mix bus. So now let's highlight all of our drum tracks, including the drum, some auxiliary. And we're going to drag them into the drum folder. So now they live in here. And let me close that folder. So boom, all my drums are in here already. My session looks so much cleaner. Now when I drag on my guitar tracks and I'm gonna do the same thing. So my guitar tracks are selected. Now let's drag that all in to guitar folder. Boom, they live in there. Let me close that folder up. Awesome. Now let's get to Fox folder. We're going to get all of our vocals all the way down to my box some, and drag those in to the Vox folder. Now we have a Vox folder. And then all that's left here is the mix bus, which we're going to leave out the delays if I wanted to, I can create another group and delay and reverb. I can call him like a Effects folder. Saw the effects will be living a folder. And then I have my print, which I'm going to leave out. So that's how we really organize our sessions a little better. Let's take it a step further, because now we have these Folder tracks, but they're not doing the bus stuff. So in my drum sum, I'm going to direct my drum Some into folder one, which should be my drum folder. So now it should be all going in here. So now all my drums are coming out of here. And if I wanted to add anything on it, I could, I can put inserts. I can even use sense. I can send it to the Senate I've been using or make new sends. I have all the capabilities of an ox folder. So really if you wanted to, you can start using Folder tracks, at least routing folders as your ox tracks, while at the same time organizing your session and breaking it down to be much simpler as well. It's a great way of killing two birds with one stone really, if you consider that it's also doing everything that VCA tract does. So I'll do the same thing with the guitar folder. So because this is a session that's already done, I really just taking the very last, the auxiliary track that's holding all my guitar sounds and sending that into the folder. But in actuality, I'd probably start by routing everything. It's those Folder tracks and kind of treating them like ox's. So Folder 2. And again, these buses are renewable. So this is called folder too, but I can rename it into whatever I want as well. The box folder, I'll do the same thing. All the way down here. Just realized that I'm scrolling through almost 20 tracks per section. And I'm able to just close it at the touch of a button. So these tracks, these like dozens of tracks now turned into just three. And when you're in the late stages of mixed, that's just super, super convenient because stuff really adds up. You start adding a lot of effects. And before you know it, you've doubled your track count just in trying different things. So that is the real-world application of tracks like this. So now from here I can do automation moves if I need to. Someone says, Hey on the chorus, the drums are just too loud. Instead of going in and like bringing it down on the ox track, I can go into this folder track, which is just up here at the top, really easy to find and do the move here. I can do volume automation. I could do any automation I want really, if I had effects on here, I could affect those as well. It works just like an auxiliary track, but we also have this really, really nice contents to look. Now, this is a great, great tool that used in combination with everything else. We've talked about automation. Using auxiliary tracks to simple routing things. Really be a huge game changing learning curve in Pro Tools. Thank you guys for watching and I'll catch you guys on the next video. 11. Outro: Hey everyone, This is Robert, and we have finally reached the end of Pro Tools 200 one. And I just want to thank you all for joining me in exploring ox tracks, BCAAs, Folder tracks, and automation. And I hope you got something of value out of this course. Thank you all so much for watching and until the next one. Goodbye.