How to Create a Podcast in Pro Tools

1. Introduction : So you want to know how to take your podcasts or the next level as a podcast editor. Well, pro tools is the industry standards to do that and gives you the most freedom and flexibility to produce your podcast from start to finish, just the way you and your clients wanted. And if you're watching this, it's probably safe to say you're just about to get started on creating your very first podcast in ProTools, or you already got going. And once you know how to maximize your system, make things quicker for yourself and yet it and really get the best sound you can using industry standard tools and processes. If that sounds like you, then this is the perfect pro tools class for you. Throughout the class, I'm going to show you guys how some useful tips and tricks can really make a difference to your sessions, record your audio cleanly, seamlessly edit your podcasts and professionally mix and match your audio. ready for uploads onto the platforms, I'm Stu Rolls and this is how to create a podcast in Pro Tools. Thanks for watching, and I'll see you in class. 2. Setting up the session: Hey, thanks for joining my class on how to create a podcast production in Pro Tools. This class will take you through this podcast production process from start to finish. But before we even get into the edit in the mix inside protons itself is important to make sure we set ourselves up right from the very stopped. If we do that, not only is there less need for conversion further down the line, it's also easy for us to find the tools in Windows we need for each step and allows us to set ourselves up for an easy and efficient podcasts production. In this step, I'm going to show you how to optimize your Pro Tools session. So let's get started and open Pro Tools, well they file, create new session. This will open up the Quickstart dialog box. From here, we'll go ahead and create a new session. And we won't use a template. So let's call this podcasts. And then from the dropdown will, will go to and check the file type we're recording. Wife will sample rate at 44.1, which is the standard as what is a Bit Depth, 16-bit, everything on a podcast will get reduced down to an mp3 at that session, right? So we'll set it right from the start. Then we'll check our location. And we'll create a new folder called projects. At a very top-level, allowed to create three folders. One's called projects and other core assets. And another cooled exports. So let's put our project files into projects. And when it opens up, it should look a bit like this. To have edit window and our Mix window. If we want to flip between the two, we have apple an equals as a shortcut. That's where just between the two as you can see. So let's go ahead and start and create tracks. Shift up or n brings us a shortcut to create new tracks. So let's say it's a podcast with just one voice for now, one mono audio track, and we'll name that dx for dialogue. On top of that, we'll create a stereo AUX track. And one thing that dx group. And this is why we're going to send all of our dialogue tracks, whether it's 12 or ten tracks. So there's a bus. From there. We'll create an audio track for the music. When I'm now Music. That'll be in stereo. And then we'll also have a stereo group, again as an AUX track for the music named that music group. And finally, we'll have a stereo master bus, which is master fader, and just call that Master and will create those. So from here, I like to make sure that our dialogue recording track is as big as possible. So you can really see our waveforms that we're recording. Then we'll look at are meters. As you can see here, there's a few head is that we're actually probably not going to use. So let's go up to view. Click on rulers, and then we'll click on minimal. And as you can see that any shows minutes and seconds. From there, let's go back to rulers again and we'll add in markers as well because we'll be adding markers, I'm sure throughout the edit process. And as you see here, we've got this universe window, which we're probably not going to use either. So we'll go to view again other displays and de-select universe. Another thing we want to hide is the track list. So we're going to view other displays in de-select track list. So you can already see we started to make some real space in our screen here. And we want to make things as simple as possible for. So now we want to look at how we're going to operate when we're recording. So let's go into Options and make sure quick punch is selected. And another thing to look at when we're recording, allowed to see the edit window scrolling by page. So once it's filled up with one recording, it goes to a new page and shows that it is continuous. And then finally we'll go into Options again and select low latency monitoring. And now I'll make sure that we don't hear an echo of ourselves when we're recording. Then we want to check our playback engine, make sure we've got the rise sets up. And then we'll have our buffer size as high as possible. Click okay, so let's now look at our preferences. If you got into Pro Tools and preferences, One thing that I want to look at is the color-coding. As you can see, the tracks here, we have the dialogue, audio tracks on the music is blue, then we have our bosses in grain. But why I really like is to make sure that all of our regions and all of our clips are recording in same colors, the tracks just so we can really easily locate different track types. So on default truck color-coding, make sure track type is selected, as well as track color below. Then we want to go into editing and makes sure that edit selection follows Clip List selection is ticked. Now let's click. Okay. So let's take a look at our toolbar here. So when we open up the session, I'll also make sure that we're in slip mode so we can click wherever we want. And now I'll also make sure that the smart tool is selected, which can also be selected by person. Apple seven on the Mac will take a look at the smart tool a little bit later in the class. I like to make sure that tab to transit is selected, which helps us with music editing later in the podcast edit. And we'll make sure this one here, link, timeline and edit selection is selected. And then we'll make sure that insertion here follows playback is disabled. Then we'll move along to the grid. So then let's set that to seconds here, as we have here in our edit window. And I said that's 1 second. And from there we'll set our nudge to ten milliseconds. And then let's take a look at the mix window, just making sure that everything's bust correctly. As you can see, the width of each channel is quite thin if you want to widen things out, just Apple option m keeps things nice and wide. So let's go ahead and make sure that the dialogue is going into our dialogue group. We can rename those groups whatever we want to, but it's already named here as a presser makes our input for the bus is the same. And again, we've music. Now is a little trick and we'll get into mixing laser. But I like to make sure that everything that's going into a bus has a hard limiter on it. So nothing is going to pay digitally because of our mixing. And what we can also do here is duplicate that plug-in across all of the different stereo plugins by holding down o and drag Clicking. Now let's just go back to the edit and make sure that our shortcut keys are enabled here. If, if that eight is edX icon is yellow, then that means we can use single button shortcuts, for example. And c to zoom out, zoom out, zoom in. So from here, let's go ahead and save this as a template. We'll name this skill share and select. Ok. So now that we save that every time that we start a new podcast, we know exactly how we're going to have our session sets up. And that side is all the time that we've just done setting everything up. 3. Importing session data and audio: Now that we've got our session sets up, we're going to start creating our protocols. At this point, we've got two roots. We'd worked with previously recorded audio, or we record new audio right from scratch. Let us assume that we are going down Route one the now. So in this step, we'll talk through how we load in previously edited podcasts that had been created in other software like D scripts or Adobe Premiere Pro and haven't been mixture, as well as how to look at the best ways we import the music and sound effects into the session. So let's start by taking a look at how we can import session data for stock, whether that be an IMF or an IAAF that's already been created in other software that could be anything from Adobe Premiere Pro D scripts or anything else that has that capability. So the shortcut for important session data is shifts all I and then we'll go to Import da selected IMF or AF, whichever it may be, will select open. And as you see, there's two tracks. This is just for a podcast. I had two speakers at the time. So you wanna make sure that each source gets his own new track. We want to make sure that we import clip gain volume automation that might have been created by us or the editor previous to us. And also we want to make sure that we're copying from source media. The good thing about that is if we ever delete the original file, then we've copied the source media to Laura. And project files will also make sure we include any markers that are already in the existing edit. Import the main playlist, and click OK. And as you see, it then automatically generates all of the audio and the previous IMF or AF. So what we'll do from here will open the mix window, check the outputs of both of our tracks. Wanna make sure both of them are going to the same bus so we can select both of them and change the outputs at the same time. If we shift click on both of our new tracks. So then we'll hold Shift and Alt. Click on the output for the channels. Select the output that we need. Make sure that's set to dx group has before. And you'll see it's changed both for the outputs there. We'll go back into the edit window. So let's say that we no longer need this one. We'll right-click and select, Hide and make an active. These are our main voiceover channels now. And then let's say that we want to import some music. So we ever go to File Import and then select audio or use the shortcut Shift Apple I, which I haven't CAN pull window as well. And let's say we want to add in some music here. And this lets us know that we need to convert this file because it's in a different format. So you select Convert. To be honest, it makes good sense to always convert anyway, because we know that we're gonna have a brand new copy in our procession folder. And then we want to add in some transitions. So again, we can either add it or copy. Let's copy again. And then we'll select them. That will then ask you where you want the destination folder. Let's make sure it's in the same one as the rest of our dialogue at a moment, click on open. And we'll add that to start the session. And new tracks will then select our music and drag that down into the music track. For me, I will then change the color of the track so it stands out away from the dialogue. As you can see here, our transition as well. I've only changed that to a different color, something like orange. Move that down around music. And that has its own channel now as well. And from here we can start to sculpt. I'll mix if we have all of the assets that we want to include in our podcasts. If not, then we need to record that. And the next step we're going to show you how to do that. 4. Recording: In this step will be going through some tips on how to record a podcast content directly into Pro Tools. And I'll be talking about a few techniques on how to make things easier for ourselves in the edit. Before we get started on that day, just a quick reminder on microphone placement and recording techniques. As we know, there are a million different mix out there. And I've put some links in the class description to a couple I personally recommend without spending huge amounts of money. I'd personally used the road N21, a condenser microphone, which is great quality for the cost. As this is a large diagram microphone, it's super sensitive. And even if you treated the room, I would still recommend placing the mike no further than a few inches from your mouth. So avoid picking up too much of that ringtone and ensure we get that warmth that we really want for my life vocal sound once we've done that and made us as comfortable for the record, let's set up our recording tracks in protocol. So here's our podcast session. As before, we've got some previously recorded material, but we want to record, for example, and your intro for the podcast. Let's add a new track. So as before shift Apple n, create new audio track in mono, and then name that, pick up Dx. And then we'll open our Mix window, Apple equals and change the input to analog one. Let's test that. So we have our input. And as you can see here, that red means that it's distorted and clipping. So you'll want to make sure that our audio levels of right, the important thing to note about Pro Tools is that you need to set your input gain at sorts. So that could be a preamp or on your microphone depending on what you're using. Pro Tools only shows you the amplitude. And this is a really healthy level. But of course, if we get a little bit too loud, then it starts to clip as you can see. So let's reduce that a little bit. And as I'm talking nice and close to the microphone, you can see it's healthy. So let us say that we want to record our new intro, but at the back end of our session and then we can move it afterwards. So to start recording will press Apple and then shift. And as you can see in the track, is recording everything I'm saying. And press Space to stop recording. If we then want to record an extra bit, we'll click again after Apple space to start recording. And you can see that capturing everything that I'm say, a nice, healthy waveform. So let's say that we want to record another conversation going into the same podcast, but this time with two people. So let's add some new tracks again, this time to Mano inputs, change that extra, and we'll change that to extra dx. I'm going to recolonize, just say I have a better separation will go into our mix window. And we'll make sure that we're arming the right channels is time. And this time we'll change the inputs to analog one. And our second microphone, if we had one, would go into analog to, as always, we'd arm record. And as you can see, there's no microphone going into that. So there's no signal. As before, we just start our recording, Apple space and press space when we're finished. As an extra tip to make things easier on a podcast edit when you know that you've made a mistake. I always ask our participants to clap. If they know they're going to end up doing something that way, there's gonna be a really obvious peak in the waveform. For example. High, this is a test recording and I've, Hi, this is a test recording and I've made a mistake. If we go up to our toolbar and zoom out on the wave forms, you can see that peak right there. This is a quick and easy tip to find those mistakes when they get to the edit, which we're gonna get into right now in the next step. 5. Editing Tools: Now this is the bit that everything starts to get really interesting and also really long if we're not careful. So it's important that we use the full potential approach. In this step. Well, we talking through some tips on Virgin Patrol, on group editing, the benefits of shuffle mode, the awesome power of the selected, how we treat clean cuts and then gets already it's ready for the next stage of mixing. So first off, let's create a new session file and just call it v1. This way we can keep track of all our at its moving forward in case we need to go back to anything. Next time we're going to take a look at grouping is really typical that we'll have a conversation between two people in a podcast. So we wanna make sure that when we move the order for one track, it doesn't change any of the timings and the sink and the rest of the conversation. So as we've got two people in our conversation, let's select each one of these tracks and hold down shift. And then we'll open up our trackless. And we'll Apple GE shortcut, which will get into creating a group. So let's name this group conversation. Click OK. And you can toggle on and off for these groups. So you'll see when we select either of the tracks is select both of them. So any changes that we do to them makes change to both of them as a group. As just undo that second. Okay, so you'll see here that we own our conversation. We've already got quite a lot of edits made using some other software like D script. But let's say that we know for a fact that we want to zoom in here and we want to remove this whole section. But we don't want to leave a huge gap where we've made the cup. So you wanna start gains at the different modes here at the moment we're in slip mode, as you see in the top left-hand corner here. Shuffle mode is really helpful in protocols with shuffle mode engaged anybody to the right of our deleted section. We move to the fill the space and cleared by the deleted audio. For example, let's highlight here and we'll click backspace. You'll see all of these audios moved immediately into that space. This is really helpful mode for when we're editing dialogue in podcast. That's just undo that edit here and talk a little bit more about these different modes. And a couple of useful shortcuts here. So 4t, one selects shuffle mode, as we just showed, O2, select slip mode, which means we can go in and change as we wish. All three spot mode. So for example, if we have here and we know that we want that to go to ten minutes, we can select ten minutes area and click OK. And that moves our audio. Let's undo that. And then old for changes to grid mode. Here we can change our grid to different values, but we're happy with the way things are at the moment. Let's go back to shuffle mode. And now another really useful tool for making our edits. Up here you'll see the different tools that we can use individually. So we have the trim tool, we have the selected so and we have the gravity term soil. If we zoom into our clear using T and we get to the end of our clip. And we select trimethyl. And the shortcut for that is apple too. If you select through those different modes, you'll see here that it changed the icon. We just want the standard trim tool. If we select it again. This then means that every time we make a change it stretches the audio. If we select it again, this doubles the clip that we're dragging out. We just want normal one, so we're gonna click one more time. As you can see, if we drag that back, that makes that change and because we're in shuffle mode, it moved all the way back. Let's undo that again. Sam, again, if we move it forward, that makes everything to the right. Then we have a select circle. So let's zoom out a bit more. This tool allows you to select whichever part of the audio or our sequence that we want to add it specifically. Apple for taste to the grabber tool. And that means that we can grab the audio and move things around as we wish. So for example, if we move that to the right, that's just going to switch the position of the auto to the audios next to it. I'll undo that. And now again to a really cool tool. We can then use the smart tool, which is Apple seven. The smartphone is really handy because it includes all of the different tools that we've just gone through. But depending on where your cursor is on the clip, depends on which tool use. Say for example, let's look at some audio in isolation here, which grabbed this piece will copy it and zoom out and click in the channel. And we'll paste Apple V to paste. So here's our clip. My cut here. Apple II. We're going to grab it, Apple for, and then backspace to delete it. So let's take a look at our smarts or Apple seven. So depending on where we put our cursor, that change is a tool that we are going to be using. So for example, as you can see as I move around the different clips, it changes. The icon. Was really useful about the smart tool is we don't have to keep switching between the tools depending on where we put our cursor, we have access to all those tools in one go. Now, for example, will look at the trim tool. To access the trim tool, we place our cursor on the outer edge of the clip and we can drag in and out as we were before. If we want to fade in our audio, we go to the top left of the top right hand corner and drag it. Left-click and left-click. Sandy lewis. We wanna grab our audio. We select the bottom half of each of the clips. And as you can see, that Mozi Iran. If we want to use the selector tool, we place our cursor in the middle of the clip and track whether they won't. As you can see where I'll place the cursor here. We've got our clip guy and we'll get to that a little bit later. But that allows us to turn up and turn down the gain in that clip. And if we want to act as a crossfade tool, we place our cursor to the bottom left-hand corner of the clip and drag that across. And if there was audio, they're able to CrossFit because there isn't anything. It just creates a normal fade. Speaking across phase, another tool we can use, select the parts that we wanna fade in. Press F, And that applies an instant fade to the audio that we selected. Let's undo that. If we want a little bit more control to our fades and we want a different type of aid. We can select the audio we want to fade, press apple F, and that opens the fate box. From here, we can be more specific in the shape and the curves and the power that we're gonna use in our phase. This is particularly useful when we come to music editing, which we'll look at a little later, let's get back to our full adder. So we have here over 20 minutes of audio. We want to start mockery now, different sections so we can visually see where we are. So we can click in to Marcus here, click the Add sign and set this to intro, for example. It's gone Enter. You'll see the marker appear here. And then we know that on the force second mark, this is where section one begins. And we'll label that. As we said in our preferences, we made sure that when we create a new marker, we have different color for each marker. So that's quite cool. I really like to have that preference set so we can visually see our different sections and jumpin at different parts of we know. For example. And you can see visually a lot better where we are. And then a final tip for if we know that we want to export some audio which hasn't been affected by our Mix window yet. Say for example, that we wanna take this audio into isotope RX as a standalone application outside of protocols, we can use the grabber tool, select the audio and press Apple shift k. This opens the Export window where we can export the clip completely unmixed and we can set our different settings and export the audio. And then of course, impulsive back in as we did earlier in the session, speaking of dialogue, clean up, we're gonna get to that now in the next step, I'll see you there. 6. Dialogue Clean-Up: Before I really get going on a mix, I want you to really clean up the edit window. And so I can focus on being created with a mix as a whole piece rather than feeling like we're still correcting things. During this makes a lot easier to notice visually any standout issues or random piece of audience that we don't want in our mix. We're going to look at reducing bleed from other audio clips, tidying up overly loud moments, and then consolidating or audio whilst keeping our original audio in hidden places. So first up, let's take a look at how we clean up both of these voiceover tracks so we don't hear the other person speaking at the same time or any background noise at the same time. There's two ways to go about this. We can either open up our mix window and add a Gates as an Insert. Or we can actually cleaning up at the source. If we clean it up at the source and yes, it can take a little bit longer, but it's definitely a lot cleaner. And we know for a fact that we're not going to get any of those additional unwanted sounds from each of the individual channels. So I'm gonna do here is zoom into each of the tracks so we can see where all the unwanted audio is coming through. Obviously the really strong peaks is where people are talking. And as you can see, there's occasional moments where there's a few noises in the background that could be coughs, I could be movement, that could be dogs in the background are gonna be anything. So we wanna do is go straight to the beginning of our audio. As you can see, the clip itself has been cut at the beginning of the next part of the dialogue. But let's select using Apple for an apple em to mute the audio. So that's been grayed out from the start, so nothing's going to come through on that channel. And again here let's draw on the next track. As you can see that she isn't here. So let's hold down shift and click Apple II to cut an apple m to meet. Zoom in again. Apple II to cut, shift, click until the end. Apple II to cut apple m to me. And that just makes sure that no more to the audio comes through the soul regardless of how we have our gate set. So from there, let's check our cross fades and make sure that we've got no digital clicks or clips where we've made the cuts list isn't to this power here. They come up with those big and that's fine. But just in case we'll zoom in and press f to fake, zoom back out. As another example as funnel apart. It's about stability, it is, but it's, and you hear the click there. Let's just zoom out a little bit more and we'll play that again one more time for responsibility it is, but it's so there's a clip there because the cut hasn't been made at the natural point on the wave form. So if we zoom in, select f, zoom back out and press play from here. Irresponsibility it is, but it's just super fun and that click's gone now. Okay, so let's assume that all of our fades had been made and we're happy with how the audio is playing from each of the tracks. What we can do from here is start to focus on automating our audio volume. Obviously in the mix we can compress and really starts with level things out. But sometimes we'll find were things that were too quiet or too loud. So let's go to a section where things look a little bit quieter like here, for example. This is clearly allowed apart, but here's a little bit quieter. What we can do on the clip gain track, as you can see, this horizontal line that goes through the truck. If we press Apple seven, start off smarts or we can lift the gain of the entire clip up by dragging up. I'm dragging down. But what if we want to be a little bit more specific? Well, if we press Apple for this brings the hand tool, which means we can start to add in automation points. And from here we can drag, drag up again. Or if we say for example, this is still a little bit too loud. Let's pull that one down and let's play it back then who innovators are today? So the first thing is to really think. And that just helped to bring that today up in line with everything else then who innovators are today? So the first thing. Really think carefully about how to learn a little bit loud. So let's pull it down. And of course then we can go through all our content and make sure we're happy with the overall volume throughout. One thing to note is that when we affect the clip gain, this affects how much audio is going into the inserts on the channel itself, not post-fader. So let's assume that we are really happy with all, you know, we've gone through and we've muted the bits we don't wanna hear. We've, we've added automation to the parts that we know that we want to tidy things up from a volume perspective. Now let's make sure that we're ready for a nice, easy mix. Now what I'd like to do from here is consolidate my audio so it's nice and clean. And you can do that by selecting all of the audio that you want to consolidate into one clip instead of having millions of different clips. Hit shift ought three. And that renders each of those clips into one clip perch out nice and clean. And you can actually see a lot clear here where we've had some audio come through. But the issue of consolidating is that it's not easy then to go back and make the changes that we want it. So this is where playlists and comes in really handy. Play Listening is a great feature on protocols which allows us to have various different alternative texts and copies of the audio. So let's undo what we've just done. And now that we've got both of these channels selected as a group, we click on waveform and select playlist, and it opens up a new window under each track. So now let's grab all of the audio that we want to track into an additional playlist. And we'll hit Apple for to grab that. And now if we click on it and click and drag, that creates a direct copy underneath, then we can hide the playlist, selects as before, shift all three and can form. And that just means that if we have to go back in and when we've gone through our edits and we're mixing, we hear some mistakes or we want to make a change. If we ever need to drag that back up, we open up the playlist. We select the part that we want. This time we'll hit shift, like what we need and pull up the main playlist, will close a playlist. And here we can go in and make the changes again, rather than being stuck with a consolidated playlist. Let's say that we want to send voice over one out to an external standalone application, but we don't want to mix down. We just want to explore the unmixed audio as a clip. So we'll make sure we have the clip that we want selected. And we'll hit Apple shift k. And that allows the Export window, not mixed down but an Export window. We select our format, which we want to take it, and we export that. And then let's say we're going to drag that in. And we'll put that into our Clip List. And then as we know for a fact that the starting point to exactly the same. And you can also see the waveform displays a lining up exactly with the original clip. And we'll drop down. And before we get into a full mix, I like to just have a quick play with the mix of the dialogue specifically. So I'll open up the mix window, do it. We need to do here, work out some levels with our channel faders here. And then I'll add in our mix Bus, which again, so a little bit later, I want to make sure from the start that our overall volume is hitting the levels that we need it to. So let's just play the audio here. Perhaps even the next-generation, of course, lego is very relevant to every kid in the same way. And I use Yulen loudest meter as you can see, which is really great soul at given as an idea of how loud everything's coming through. I'll set up the podcast preacher, play that audio and check that everything's an averaging around 16 dB in the next generation, of course, lego is very relevant to every social order. A little bit quiet. So assuming that I've gone through and done one needs to. I'll turn that audio app a little bit. In the next generation, of course, lego was very relevant to every kid in the same way that it has been for many years. But kids asks her a little bit better, obviously will go into that a little bit more detail later in the class, or just a heads up to now to give us a little bit of a helping hand when it comes to Gain Staging omics. 7. Music & SFX: Now that we've got our dialogue channels nice and clean, it's time to add some color to omics. Almost every podcast is as to music. So let's take a look at how best place aren't chosen tracked throughout, as well as adding in some cool transition sound effects to add dynamic interest and a tone of voice law podcast. Now we've already got our music track here in our session, but let's assume that we want to add something new. So Apple shift I to import. And let's select our second track here, remembering what we said earlier about adding and copying in session. So let's copy this just to make sure that we've got a copy in our original project folder. And we'll select Done. They'll tell you where it's going to save it. And then we can select either new track or clip list. So let's select New Track. And we're going to have this as our intro music from the very start. So let's select Session star. You can also select selection, which if you have your cursor place somewhere on the timeline, ill place exactly in that spot. And alternatively, we can select spot way. We'll then be able to say Ireland two minutes, I went out for minutes 30, et cetera. But let's select Session star. And now we've got to music tracks here. And just to make sure that they're both clearly within our music section, I'm gonna double-click on the track and change the color to yellow. And now this is our original midi track which is muted. That amendment, I wanna go ahead and make that inactive. Which just means that it's there in the session, but there's no chance of it being played accidentally by unmuted on meeting the track. In fact, I might even go ahead and hide that. So I'll right-click on the track and select Hide. And now let's just go to our mix window, check our outputs. And let's change that to music group. And as you see, there are now anything that's in this group will be able to be controlled by this main fader here. Let's play that back a second time. You are heading up our creative play. From the start, that's YC large. Let's open up our mix window. Plague in your heading downward created. What's your team's role in innovating lego Play? Thanks Laura, and that's a great question. Fundamentally, it is my team's job coup that goes a little bit better. And let's say actually as soon as our first speaker starts talking, we want to finish that track. So what we'll do is we'll just drag this opened a little bit. We'll zoom in a bit into the track and we'll select around here. And we'll just delete this. So then we'll create a fade apple F bows lots use exponential phase. They just feel way more musical rather than really awkward drop-off that you find with a very linear fade. So make sure that's selected and click OK. And let's play that back here. Hitting the lego Play. Thanks Laura. And that's a great question. Fundamentally, it is my team's job to cool. So let us now say that we want to use that exact clip and want to use that at the back end of it. So we'll select our track. Apple C to copy will move across to the end of our sequence. And we'll select exactly where we want to start. So let's say it's around here, for example, Apple V to paste it and multiply that by really helpful. And that's the big success will be rooting for it. Thank you. Thank you. Now we'll have our music tracks are going through the music group. And what's good about having everything Boston correctly set up like this is we can individually control the volume on this track. We select volume. But also using buses like this, we can make sure any music tracks whatsoever in that bus. It can be effected in exactly the same way. So let us say as soon as that dialogue finishes around here, we want our music To start going a little bit louder. So we'll press apple fall and will press it again at the end of the dialogue. And I'd say two or three dB. Now, you can see here by clicking on the keyframe on the track, it says minus 29 dB. If we click on the second key frame, we can see it says minus 23. So that's quite a big leap. So we listened to that. Thank you. Thank you. Actually, it sounds okay because it's not a particularly rhythmical big truck, so that sounds fine. But something to note that if we want to add in some extra keyframes than normally two or three or four dB within the different jumps is normally enough without it feeling too overpowering. Now let's take another look at our injury for example, let's say that we want our music to turn up where our speaker isn't talking. So for example, a moment like this. So if we select this section and we click Shift and then click on the track that we want to affect, that we'll now select the same range on our music track. And then if we press Apple seven for the smart tool, and then we drag our music track up by few DB. You'll see that it changes the volume specifically within that range. And now launch little tip to smooth that out more. Press Apple for again, add another key frame, add another key frame, and all click on these other keyframes to delete them. And that was fed that back, create a play lab. What's your team's role in innovating? And unless already cool handy tip to have in our music intros and outros, just for it to feel a little bit more radio-like. So I also wanna show you guys a tip on how to edit music using shuffle mode and taps a transient. Let's get to the backend of our track for now. And we'll select our immediate track. Now, let's just hide these phases second and play that track by itself. Ok, so the moment of truck stops and the b1 I shown you want those first two bars to repeat until the end of the podcast. So Tab to transient allows us to find the peaks in the wave form naturally using just the Tab key. So I'm gonna select here, and you can see it starts to skip through. For example, that's a B and that's a bit, but let's play it back. You say, well maybe B, a B here. So I want to repeat the first few bars until the end of the podcast. So a select on my clip and I'll hit tab. You'll see that the CAS automatically go to that peak o. Then cut that. And let's just play that clip now. And you see that sleeping. So let's delete the end of that clip and then we'll make sure and shuffle mode. So 01, and you can see it changes here as well. We'll select the clip and then we'll press Apple d. And that will just duplicate, duplicate, duplicate. And I just want to make sure that S a nice clean cut across all of those different duplications. So let's highlight all of the cuts and hit F. And I'll just add a 3D instant quick Fade to each of those to make sure it doesn't clip playback n. And now let's play against the rest of the podcast. Be the big success, will be rooting for it. Thank you. Thank you. So for we add in a nice exponential fade here. Zoom in a little bit, adding some automation. As the dialogue finishes. We'll consolidate our tracks. Shift O three. And then let's say we want five seconds at the end of the podcast. So we'll select here cut. And then just add a nice explanation. Fight again, and play that back as a whole will be rooting for it. Thank you. Thank you. So now that we've got our music in intros and outros place, let's have a look at sound effects. For example, protons offers a thing called workspaces. So if we hit boat I, this opens Workspace window. And then we want to create our catalog and a castle. Ok, it's great because we can use different drive and different file locations to create a sound effects catalog. So we know that everything is in one place. It doesn't copy files, but it means that we, as a user, can search everything using the search tool here. And it's all in one place, rather than having to search the entire computer and taking a long time to do so. So if we open up our volumes and for example, we're going to our sound effects photo where we know that we've got a lot of our sound effects. And we'll right-click on that. And select, Create catalog from selection. Okay? Remember open catalogs. And you'll see that it's added all of the folders, they're moving forward. If we want to add in another photos from different drives, we just go in, select them and drag them into here. He's really cool because we know that if we want to search, for example, you want to hit a really strong cinematic Kate, we search hit. And this is great because it shows all the different file names, all the different durations, the wave forms, which is really helpful to find the right sound effect for us. So let's say we want to start our podcast off with a big bang. So let's add a few seconds to our timeline so we can make space for that effect. And let's say that we need seven seconds. So will shift click and get up to around here. And then we'll go into time operations. Insert time, and we'll click OK. And you'll see everything in our timeline is being completely moved back by seven or so seconds will close the window. Then we'll hit o j to go back to our workspace. Let's say that we want our wish hits here, which is about nine seconds long. We'll add a new track. So shift Apollyon will go stereo. You create that and let's change the color of that as well so that stands out. And then we'll open workspace again. And we can quite literally drag this into a new track, which we can even drag to the beginning of the sequence. Or we can click Y, which will hit it straight back to the beginning of the sequence. Hey, we got this, play that back. You are heading up our creative. So everything's a little bit of a mess is a big gap here. We've got transition underneath and then our dialogue starts. So let's tidy that up a little bit. So we'll select that and press Apple em to mute it. So let's say we want to close the gap. So we'll click on our ruler on the very top where we can see our time references. And let's say we want everything to start around here, just around the peak is. So then let's click on time operations again. And we'll cut time this time. I'm going to apply. And you see everything starts here. But we need to be kept as when we make that cut, we're gonna lose the tail end of that sound effect. So we'll drag out the back end of that again, so that naturally fades out as before. And let's add a natural fate of that as well. Let's play that back. Tom, you are heading up our creative play lab. What's your team's role in innovating lego Play? Thanks Laura, and that's a great question. And that's a much cleaner start. Another thing to look out for sound effects within our podcasts is to look at reverb. So we have here a transition that we want to use. For example, if we're in the middle of a conversation and the theme of the conversation changes. So let's just zoom in a little bit and we can see a little bit better than discussion points. So what we're gonna do, for example, let's say that the minute that our second voiceover finishes, the subject changes quite dramatically. Let's drag this transition across and zoom in a little bit. And let's make sure everything's the same size so we can get a better idea of what's going on. It's medium. And let's move our transition track up next to the dialogue so we can say a little bit better. Todd, irrelevant to kids as they change over the years. Amazing Tom for it for a breath. Okay, so aside from the fact that the translation along, let's delete that back in the, let's say that we're happy with that as a section change, but we want to add some reverb sound effects. So let's open the mix window and we create a new bus would the Riva. So Apple Shift N to create any track and we'll get stereo for our stereo reverb. Aux ox input is Tom will change the track Maine to revert to create more signal out of the backend, again, changing the color of that. Now let's change the input to that, say verb one. And our transition truck was on the transmission channel here. And we need to send that post-fader to our AUX track. So again, send that to verb one. And this opens up the send channel. So we need to set that to 0 so we can have a pull up or we hit click and now set it to infinity. And this is the fader that will turn up or down depending on how much we want our sound effects. I have reverb and from there we'll insert a reverb track. And whatever reverb will do for now. And let's go back to our edit window and we'll listen to that in solo. Let's solo that. And you can't hear the reverb. So we wanna make sure that whenever we solo this track, we can still hear the reverb tail that it's created. So Apple click on the S and let's play that back again. And now you can hear the reverb tail. Let's play that back as a whole on soloing, this change over the years. And amazing Tom forever. So a little loud so that further back AND change over the years. Amazing Tom. And now you can hear the brief. I've just helps us smooth out that transition a little bit. As a tip is really rare that we're gonna use reverb for our discussion. Normally if we're ever going to use reverb is for an effect for someone like we've just created. But generally, we want clean dry audio, which we'll get into more detail in our next step. 8. Mixing: Now it's time for the fun bit. And the part of our process where protons really starts to shine in comparison to other software. In this section, I'll show you through how I set up my podcasts mixes and give you some tips and tricks on how to get that commercial level quality to help your podcasts standout in the crap. I'll take you through some tricks on stereo imaging to create space and focus in the mix. How we apply fundamental EQ. So add clarity as well as adding compression. And boy Medina give a consistent listening experience. I'll also touch on some additional processes like noise reduction and harmonic distortion to add extra warmth to our digital dialogue. Before we get going, I want to share a quick piece of advice for you. It makes him podcasts on ASI is taken time, hours, weeks, years of my life to develop my process and my ears to get used to the nuances involved in working in spoken dialogue, which normally is heard in isolation so we can't hide from anything. I come from a background of working with music artists and bands in the rock and metal genres. So also Law, the principles are the same. I was so used to ways of work in that field that took me a long time to understand the notion that less is more. It's so easy to over-complicate a podcast mix with too much BEQ, too much noise, too much compression as So in short, even if it feels slightly like it's too much, is too much. Go back to your mix after a quick coffee. Go unless in another room, pull on your headphones. In fact, mixing your headphones, sometimes this is where they're listened to. So if it sounds good in the headphones, it sounds good and the speakers. Finally, there's a world of amazing plug-ins out there. I'll show you some of my go-to plug-ins in the description. And I'm sure you guys have your favorites too. So I'd love to hear what you're using your mixes. And if there's any way you think that was really well with mixing. So here's our session. We've edited all of our dialogue. Our music Isn't there, are sound effects and our transitions are in there, and now we're ready to mix. This is an example session that I did recently with two speakers and a nice top and sale mix with some transitions in the middle. So let's open up the mix window Now before we get into an EQ compression or anything else, I want to have a look at my stereo image. Typically I'm always going to set my dialogue to be sensor. That way it's nice and clear and stands out from everything else is in the mix. Here we have our music. And because music typically as mixing stereo, I'll keep that the same. So that's hard left and hard right here. It just helps to give some space to our mix and keep our dialogue nice and clear whilst the music playing at the same time. So as a quick overview of a typical chain of inputs and processing values on a dialogue track, I will go de-noise first. Gating, use vocal writers to automate the volume. Then I'll start using some corrective EQ, added the DSA to clean up all the S's. Then also it compressing and I'll use two compressors. Then I'll add in another ds and then some creative EQ using waves API plugins and the period say, I want to show you guys an example of what the audio sounds like on one of our voices, all of our processing. And then after. So let's play here. We're going to meet all of these plug-ins holding Apple as we click on each one. And we'll play back. We're going to be speaking about what she brings to the role, what energizes her most about her job, a little bit about our past experience. And then let's add in all of these different plug-ins. We're going to be speaking about what she brings to the role, what energize this her most about her job, a little bit about our past experience. So I'm gonna go into each plug-in a little bit more in detail to give you an oversight. Here's the de-noised. So what we wanna do is find a sample of noise in our audio, tell it to learn it, and then find the right level of reduction dependant on how nausea or audio is. Then we'll go in and check our levels with the gate. So let's play that back bade opportunity that get some inspiration on how we put leadership into play at the Lego group because we need everyone to take. And that's just about right before starting to cut off bits. We don't actually want to cut off. And we've got vocal writer, which is a very cool and handy tool here, is play that back. Great opportunity to get some inspiration on how we put leadership into play at the Lego group. Where you can see here is that's the level that we want our audio to hit. The yellow is the peak. So anything above that is being produced and anything below it brought up here is our range. And then a rider you'll see we'll move as things are playing this play again, great opportunity to get some inspiration on how we put leadership into. And that's really helpful, doesn't compress that just changes with the overall volume of the audio before we then get into compression. Now before I get into compression as well, I also want to go in and clean up any problematic frequencies. So what he really loved the metric halo channel strip, which is really clean and warm sound. And that gives us an opportunity to go in and find those frequencies used incorrectly VQ techniques to clean up anything that we don't want to hear. Here, we've got a few notches in and around 1K, 3K, just to really smooth things out, bypasses plug-in feed opportunity to get some inspiration on how we put leadership into play at. And you can hear that smoothing things out. So here we go again, bade opportunity that get some inspiration on how we put leadership into play at. And then I'll add in the DSM. I use a Massey DSA, which is really cool to play that back without, for example, bde opportunity to get some inspiration on how we put leadership into play at the Lego. And you can hear it's not doing a lot here. But if we want to increase that, for example, made opportunity that get some inspiration on how we put leadership into play will increase or reduction. And then we can work on, on dry and wet mix here. Get some inspiration on how we put lead. And this is great because we can find the frequency and then work on the reduction and then work out the best dry and wet mix. So let's try that for a second. There ship for everyone. It's a great opportunity to get some inspiration on how we put leadership into play at the lego Group. And as you can see, we're working around the three came out that which we'll define as some troublesome frequencies there before when we were working with the EQ as well. So that just an extra level of tidying up around that range. So a little tip for compression. I always find it best to have two examples of compressors going at the same time with a little bit of game induction rather than one with a lot of gain reduction. This one we hear a lot less artifacts. So let's hear these bypassed or ship for everyone podcast. It's a great opportunity and you can hear that we still need to ride out that volume using this compression. The way CLIA 2A is really great because you can also use the high frequency roll-off, which helps with DSA as well. Again, we don't really want more than two to three to four dB on this one, which is a nice move and slow OXO compressor or ship for everyone podcast. It's a great opportunity to get some inspiration. And then we'll also add on a foster If it's not gonna foster release using the compressor on top of that ship for everyone podcast. It's a great opportunity to get some inspiration on how we put leadership into play at the Lego group. And that helps to really smooth things out and warm up your voice as well. And then if we still have some issues with DS, singlets have a listenership for everyone podcast. It's a great opportunity to get some inspiration. And leadership. Not just people leaders. I'm, you're only use some creative EQ here just to add in and boost those frequencies that we want to hear. So wherever there is a bit more clarity or a little bit more warmth in the low end, or we want a bit more air at really high frequencies. This ever listen or ship for everyone podcast. It's a great opportunity to get some inspiration on how we put leadership. I really love the period tech, which is great for boosting the high frequencies, which can be really harsh if you used the wrong plug-in or you do it the wrong way. But the POSIX, which was really nice and subtle, even if you're boosting quite look. So that's an example of how I would mix one voice. So obviously we have to, in this podcast are mixed both of those separately, which are both going into the very same bus as you can see on this track of also added just a safety catch limits or was just helps to ensure that nothing is being clipped digitally just in case we've ramped things up too much. And I'll apply that across each one of the subgroup buses. And then let's play that back at the beginning. And to take up leadership, not just people leaders. I'm your host. Unless I'm mixing that, I'll play that back and also make sure that we are still hanging around more or less the right loudness level. So I'll open up the Uli loudness meter here. So our retail stores and our online in the US. As you can see, we're averaging around the minus 16 DB laughs level at the Mail, which is great for when we come to mastering our final piece. And I'll get into that a little bit later too. A few final tips or mixing. So there's two ways of approaching this mix, and sometimes it just depends on what equipment you have all used to. As you can see, I've got a bit of automation here on my volume on the music tracks. So when people aren't talking, it comes up and just at the end of the intro when it goes into the main content, it also comes up and rise back down as well. But what's quite cool if we know that we're going to have to be a little bit more hands-on. Pro Tools offers an option for automation where we can ride the faders and now right, that automation. So for example, if I know that I want to ride the automation on my dialogue channel, I set the mode to run. And you can also go into the edit window and set the Automation Mode writer here as well. As we play it back on and start playing with the fader. And you see the automation be written onto the track as we move the fader. This circular, it was a start of a great career. And every couple of years I ended up doing something different at Bose. I worked in different product divisions, worked with different channels. I worked with different geographies. As you can see, that was really excessive, but it was just to show you the point that actually writes exactly our movement here into the track. And then it automatically changes that backs a latch. But if we know that we don't make any more changes, we then just change that back to read and then no more change will be written to the track. And you can see a playback exactly the same changes. Felt. It was a start of a great career. And every couple of years I ended up doing something different. Now let's just undo that is really helpful if we're mixing music against dialogue or just working with more sub Vedas. So let's say, for example, I want to ride the music track. And I say, that's a right. And I'll open up a track. Here we are in play from here, bringing the power of play two more girls and through that, teaching more girls skills like not only creativity and imagination, but resilience and problem-solve. And it's really helpful if we know that we get different parts of the music where it's more dynamic or louder or quieter. And we want to write down level things are little bit more rather than having to write them in every single time. Now we'll take a look at the master bus in our next step. 9. Master Bus: Here's another really important part of our mixing process and something that using protocols for our podcast mixes really helps us to add that sonic qualities. What final mix? It's called a master bus or the mixed bus. Either is fine. This is the final China love audio that all of our audio goes through and allow us to control the mix as a whole. In this step, I'll be showing you some of the tools are used and how I used them to get the best of our mix before we explore our final audio. So let's look at the mix window. So we'll see a master channel on the right-hand side, that dark red channel. That's the same master fader that we set up at the very beginning of the class. We'll be creating tracks. And this channel is where all of our different buses, whether that be dialogue, music, sound effects or anything else, is going through and is then brought to give him one stereo channel, which we can use to mix all of our assets as a whole. We want to do from here is probably fine. The most dynamic and loudest part of the mix, which will be at the end where we have the music playing and our final outro. And so we'll use this as a reference for the most dynamic part of our mix and our levels when it comes to loudness and overall tone. So we're in the mix window now and there's a few different plugins, as you can see here in the master bus. Now the difference with the master bus is these faders on a normal channels, they change the overall volume of what comes out of that channel. The thing with a master buses, when we increase or decrease the level of that fader, it actually affects what goes into our very first plug-in here, rather than changing the final volume of our sequence. So it's really important to make sure that from a star or loudness level is pretty much where you want to. So let's just open up really loud as meat and now to check our overall loudness. Thanks so much for being my guest today. And I just want to remind everyone that leadership is for everyone. It's not a title, it's a mindset, it's a quality that's not a physician. So we can see here that we're averaging around that minus 16 laughs, which is great for podcasts, lameness, and what we've got going into our master bus. Here's a few different elements which helped to really tighten things up and make sure our levels hit where we want them to. First stop. I use a ways SSL bus compressor. And this is really nice for gluing things together and using a little bit of gain reduction just to tighten things up and catch those extra peaks here in there. So I'll play that back and see what that's doing. Thanks so much for being my guest today. And I just want to remind everyone that leadership is 23 up to four maximum DBs of compression, but with a really slow attack and also release and only being compressed to around two to one ratio. So that's really transparent but just helps to catch those extra peaks. Then I'm going to add in Massey tape head, which is perfect to add a bit of tape saturation and that warmth that we want. So some digital recordings, I've got all the parameters set to 0 here, so it's not adding any real distortion is just add in a few harmonics here and there, which just warms things up. But let's listen to the mix without and then we'll engage the plugin. You can, you can hear what that's doing to the mix and bypass her and play. Thanks so much for being my guest today. And I just want to remind everyone that leadership is for everyone. It's not a title, it's a mindset, it's a quality that's not a physician. So hopefully you again. So that's just adding a little bit of saturation, which just helps to warm things up really nicely. Let's have a look at it, the EQ. And I really like the purely tech just to add a little bit of lows and highs if we need there and give that nice smile EQ effect that we are also used to now, so as you can see, I'm adding a little bit of air here around 12 kilohertz and with quite a big boost, which normally in most EQ plugins would be really drastic. But what's great about the period cycles just really transparent, especially in the highs. And also adding a boost here on a 100 hertz. To be perfectly honest, anything above 10 or 12 k We've rolled off and a lot of the dialogue anyway, it's so subtle, but it just really helps to add a little bit of shine to our mix without feeling too harsh, less bypass that and play it back in as before. Thanks so much for being my guest today. And I just want to remind everyone that leadership is for everyone. It's not a title, it's a mindset, it's a quality that's not a physician. So hopefully you gain some inspiration and hopefully you'll tune in for a future part. The adds a nice amount of shine to our mix without being too much. Now that we've gone through, we've added a little bit of eyes read a little bit more load. That is from saturation we've compressed things are levels are gonna change a little bit so we wanna make sure that we're not clipping anything here because there's some safety limiting. And the very back end of my chain, again, using the Massey range, the mastering limiters perfect. So you have the threshold set to 0 and you'll see if I play it back, nothing's coming through, but if there is anything that starts to peak and it catches it and flattens it out for me. Thanks so much for being my guest today. And I just want to remind everyone that leadership is for everyone. It's not a title, it's a mindset, it's a quality that's not a physician. So hopefully you gain some inspiration. What's quite cool hears also you can see any gain reduction that's actually happening on the SSL. You can see it here. But if we're getting past that slight and social gain reduction that we want is really visual and a great help to make sure that we're not over compressing things. Thanks so much for being my guest today. And I just want to remind everyone that leadership is for everyone now that we've gone through and added in the EQ at it in a bit of compression and a final bit of saturation. Let's just take another look at our loudness meter. Thanks so much for being my guest today. And I just want to remind everyone that leadership, okay, so everything's clearly louder than we had it before. So we're gonna do is open up our final limiter and then just change our output to pull it back down couple of dB. And if we want to keep the IPO and loss, we open up to you lean meat. We just hold shift and click on that. And then we'll have both plugins open at the same time. Thanks so much for being my guest today. And I just want to remind everyone that leadership is for everyone. It's not a title. So we've reduced things by nearly 3D B. Let's play that back from the start. Thanks so much for being my guest today. And I just want to remind everyone that leadership is for everyone. It's not a title, it's a mind. And we'll go again. Thanks so much for being my guest today. And I just want to remind everyone cool. So that's pretty much at the level we want. So if we were to apply this to any of our podcast platforms now than it's pretty lucky that this is exactly what we'll hear on those platforms. If we did ramp up the loudness a lot more than it's very likely that those platforms are out there in compression and things will start to sound bad. So let's just leave that they're averaging around minus 16 laughs. And in the next step we'll have a look at exporting and getting our files ready for the platforms. 10. Export: So you've finished your mix and you want to get it dear listeners. In this step, I'll show you how best to export from Pro Tools and get them makes ready for platforms like Spotify, Apple podcasts, and more. Now before we explore, we want to make sure that our editor itself actually conforms to the different specifications of our podcast platforms. It's really typical that we're asked to add an extra 2.5th at the beginning of already and then an extra five seconds at the end. This is really helps to make sure that you don't get that annoying situation where we will press play and we'll miss the first, second or so. Because for example, Spotify will have the crossfade section turned on. Well, because the platform automatically adds in cross fades by adding five seconds. And at the end, our listener knows that that's the end of all the lessons here. So press enter. Now make sure that we're at the beginning of our session. And then let's go into events and time operations as we used before. Insert time. And what I didn't 500 milliseconds here. And click apply. And that just adds a gap up from with no audio whatsoever playing just to make sure we don't lose any audio from the beginning of our podcast. As you'll see. One of the reasons I was interested in. So then when we come to explore, we want to make sure that all of our sequences in our export and nothing more, nothing less. So you want to use our ins and outs. So using our selector tool or the smart tool, we'll go in and we'll hold down shift and click across all of our audio. So let's just zoom in a little bit and go right across to the end here. So im and again, I've actually market where I want to end that so you can see the audio finishes around 26 minute mark, and then by 26, 12, I'm definitely out. So let's just drag that across here. Now I know that everything within our in and out boundaries is going to be exported. Now hit the shortcut to open up the balance mix window, and that is apple ought to be, will cancel that. And you can also go into file and bounce mix as well. And this window allows us to change a few properties of the export of a set. We can name our file as we want, and we can also set the file type, what we're going to export. I was actually export a WAV file. That way, you know, if we're gonna be using some of our content for other platforms other than podcast. And it's gone into video, for example, that we use in the highest quality always. And we can always explore extra compressed versions of MP3 versions towards we have that high-quality export. We know that we have that and we don't need to go back and we export a high-quality if we need them. But let's take a look at MP3, which is the platform that we want to use to be able to access different platforms like Spotify and podcasts. So select our output, make sure everything's interleaved as a stereo track we've mixed in stereo will have a sample rate of 44.1 16-bit if we choose our directory and then we'll hit bounce. What that allows us to do is set our ID3 tags. And I'm not gonna go into too much detail of the benefits of ID3, but it definitely helps on some platforms instead of being able to find the podcast on different platforms, if you use different keywords for your audience to be able to find your podcast, it's not guaranteed, but there's no harm in it doesn't take long. And let's say we've filled all then we can, okay, which will then output audio in the MP3 format that we need. In addition to this, I also apply at final layer of loudness control using isotope RX, which is something that I want to show you guys in a new class coming up, so please keep an eye out for that. But in theory, that's our very last step before we can then deliver our audiometer platform or to our clients. 11. Wrap-up: Thanks for joining my class on how to create a podcast in Pro Tools. I hope you found it useful and it's giving you some handy tips and tricks on how to maximize the efficiency of your podcasts that is, and mixes in Pro Tools is an incredible tool. And as you've seen, there's so many reasons for its still being the industry standard DAW for mixing and mastering professionals. There are also some fairly new platforms and very cool tools available to us podcasts creators. I'll be creating some new clothes on those very soon. But for me there's still nothing that beats the flexibility and speed with which we can finalize our mix and master in Pro Tools. But for now, I'd love to know your thoughts and comments on what else you guys would love to see showcase in the future by a protocol. I'm, she rolls and thanks for joining my class.