Reference no: EM133144066

Review Questions

1. What term is used to describe an audio patch point that applies a signal processor directly into the signal path on a track? How many of these patch points does Pro Tools provide on each track? (See "Insert beginning on page 210.)
2. What term is used to describe a signal path carrying a mix output of one or more tracks routed for parallel processing? How can this signal be returned to the sending device? (See " "Sends and Returns" beginning on page 210.)
3. What menu would you use to display or hide the Mix window? What keyboard shortcut can you use to toggle between the Mix and Edit windows? (See "Working in the Mix Window" beginning on page 211.)
4. What menu command can you use to display or hide an Inserts or Sends view area in the Mix window? (See "Inserts and Sends Views" beginning on page 213.)
5. Which Pro Tools automation mode discussed in this lesson records changes to track controls in real time when playing back the session? (See "Recording Automation" beginning on page 215.)
6. What is the difference between Read mode and Off mode? Which mode allows you to play back existing automation on the track? (See "Playing Back Automation" and "Turning Automation Off" beginning on page 215.)
7. What track control can you use to display an automation playlist? What window are automation playlists displayed in? (See "Viewing Automation Playlists" beginning on page 216.)
8. What tool can you use to add, move, or delete automation breakpoints? What modifier can you use to delete a breakpoint by clicking on it? (See "Editing Breakpoint Automation" beginning on page 217.)
9. What type of plug-in provides real-time processing? What type provides non-real-time processing? (See "Using Plug-In Processors" beginning on page 217.)
10. What are some plug-in options that are available for EQ and dynamics processing? (See "Plug-Ins Provided with Pro Tools" beginning on page 218.)
11. Why is it important to back up your Pro Tools sessions? What are some ways in which your Pro Tools work can be lost accidentally? (See "Backing Up Your Session" beginning on page 220.)
12. How is the Save Copy In command different from the Save As command, in terms of the files that are saved? (See' "Saving a Session Copy" 'beginning on page 220.)
13. Which session will be open after completing a Save Copy In operation: the original or the copy? How is this different from the Save As operation? (See "Saving a Session Copy" beginning on page 220.)
14. What command can you use to save a session with a different sample rate or bit depth? (See "Uses for the Save Copy In Command" beginning on page 220.)
15. What are some considerations for bouncing audio in Pro Tools? How is the bounce affected by soloed or muted tracks? How is it affected by the active selection? (See "Considerations for Bouncing Audio beginning on page 222.)
16. What command lets you mix your entire session directly to a stereo file? What file types are supported for the bounce file with this command? (See "Bouncing to Disk" beginning on page 222.)
17. What bit depth and sample rate should you use when bouncing to disk if you plan to burn the file to CD without further processing? (See' "Using the Bounce to Disk Command" beginning on page 223.)
18. How can vou add audio files to iTunes for use in burning a CD? (See "Adding a Bounce File to Your iTunes Library" beginning on page 225.)