Reference tracks in Pro Tools

ZV Yoda

Trackmix mentions use of reference tracks for mixing (on the "let's hear your music thread").

On that topic, can any PT users suggest the best way of doing this? I'm on PT9 with a Macbook Pro. In the past I've imported commercial mp3s (from my iTunes library) into a session. I set the mp3 up as a separate track & then just use the mute/solo buttons to AB against the session.

The problem I found with this in the past is that commercial music is already mastered (and louder) than our session, so it’s not really an “apples with apples” comparison.

In the end, I stopped doing it because it turned out to be a very demoralising exercise (especially when I used Massive Attack as a reference on one track)

Any tips/tricks for using reference tracks?

SeanHurley

ZV Yoda wrote: »

Trackmix mentions use of reference tracks for mixing (on the "let's hear your music thread").

On that topic, can any PT users suggest the best way of doing this? I'm on PT9 with a Macbook Pro. In the past I've imported commercial mp3s (from my iTunes library) into a session. I set the mp3 up as a separate track & then just use the mute/solo buttons to AB against the session.

The problem I found with this in the past is that commercial music is already mastered (and louder) than our session, so it’s not really an “apples with apples” comparison.

In the end, I stopped doing it because it turned out to be a very demoralising exercise (especially when I used Massive Attack as a reference on one track)

Any tips/tricks for using reference tracks?

Generally I will pull the fader down a few db on the reference track and then adjust as I go to match ref track(s) to what I am mixing.

I have found using markers a better way of a/b-ing, it lets you a/b with exact parts of the reference track and reduces the headache of cancelling solos etc.

I place the reference track on its own track well after the the track I am mixing in the timeline and place a marker at say the verse of it, and the chorus of it (and any other part I am using as a referece), then you can use the numeric keypad to jump around and hear what you need to hear by typing .(the no of the marker). ). For a/bing to work it needs to be quick, too long of a gap and your brain forgets -using solos can be a headache as you might be at the chorus in what you are mixing and then when you a/b with your reference you are in a breakdown or verse which is not what you are looking for.

woodsdenis

Clever boy. Good way of doing it Sean.

SeanHurley wrote: »

Generally I will pull the fader down a few db on the reference track and then adjust as I go to match ref track(s) to what I am mixing.

I have found using markers a better way of a/b-ing, it lets you a/b with exact parts of the reference track and reduces the headache of cancelling solos etc.

I place the reference track on its own track well after the the track I am mixing in the timeline and place a marker at say the verse of it, and the chorus of it (and any other part I am using as a referece), then you can use the numeric keypad to jump around and hear what you need to hear by typing .(the no of the marker). ). For a/bing to work it needs to be quick, too long of a gap and your brain forgets -using solos can be a headache as you might be at the chorus in what you are mixing and then when you a/b with your reference you are in a breakdown or verse which is not what you are looking for.

fitz

I've recently learned how much markers can help to focus in on exactly what you need to.

The other way of doing it would be to set up a "pre-master" bus, which then goes to your master. Nothing on the master, but a limiter on the "premaster" to bring the mix up and give it a rough "mastered" sound. Route your reference track to the master, and mute/solo as required.

I haven't described that well, but it makes sense in my head...

ZV Yoda

Both very helpful posts... I understood your point Fitz, makes perfect sense when you think about it.

Sean - that's very clever!