Review/Discussion Questions PT 101
LECCION 1
Review/Discussion Questions
1. Name and describe five types of production tasks that Pro Tools can be used for. (See “The Pro Tools
Digital Audio Workstation” beginning on page 4.)
Audio Processing
Midi Production
Notation and Scores
Mixing and Automation
Audio for Video and Post Production
2. What is the frequency range of human hearing? (See “Audio Characteristics: Waveform, Frequency, and
Amplitude” beginning on page 12.)
[20 a 20.000] CPS or [20 a 20] kHz
3. What does the frequency of a sound wave affect in terms of how we perceive the sound? How is frequency
measured? (See “Audio Characteristics: Waveform, Frequency, and Amplitude” beginning on page 12.)
The frequency of the sound pressure variations that reaches our ears creates our perception of
the pitch of the sound
Frequency is measured in cycles per second (CPS) or in Hertz
4. What does the amplitude of the sound wave affect? How is amplitude measured? (See “Audio
Characteristics: Waveform, Frequency, and Amplitude” beginning on page 12.)
Our perception of the loudness of the sound
Amplitude is measured in decibels dB
5. How does the sample rate of a system relate to the frequency of audio it can capture? What is the name of
the law that specifies the relationship between sample rate and audio frequency? (See “The Importance of
Sample Rate” beginning on page 13.)
Each cycle of the sound’s vibration must be sampled a minimum of two times.
Because the range of human hearing is generally accepted to be 20 Hz to 20 kHz, the
Nyquist Theorem tells us that a sampling rate of at least 40 kHz (twice the upper range of
human hearing) is required to capture full- frequency audio.
Example: Sample rate 40 kHz Audio Frequency 20 kHz
Standard sample rate is 44.1 kHz.
Sampling Theorem or the Nyquist Theorem
6. How does the bit depth of a system relate to the dynamic range of audio it can capture? How can you
estimate the dynamic range of a system? (See “The Importance of Bit Depth” beginning on page 14.)
The higher the bit depth, the bigger the dynamic range.
Bit depth * 6 = dynamic range
7. What are some common digital connections available on Pro Tools audio interfaces? What type of
connector jack does each use? (See “Recording in Digital Format” on page 15.)
S/PDIF (uses RCA jack)
AES/EBU (used XLR)
8. Name some audio interfaces that are compatible with standard Pro Tools software. (See “Audio Interface
Options” beginning on page 16.)
Fast Track, Mbox, Eleven Rack, Duet and Quartet. Third party devices are also compatible.
9. Name some Avid audio interfaces that are compatible with Pro Tools| Ultimate software. (See “Pro ‘Tools|
HD-Series Audio Interfaces” beginning on page 17.)
HD OMNI
HD I/O
HD MADI
Frecuencia.
Es el número de vibraciones por segundo que da origen al sonido analógico. El espectro de un sonido se
caracteriza por su rango de frecuencias. Ésta se mide en Hertzios (Hz). El oído humano capta sólo aquellos
sonidos comprendidos en el rango de frecuencias 20 Hz y 20.000 Hz.
Tasa de muestreo (sample rate).
Un audio digital es una secuencia de ceros y unos que se obtiene del muestreo de la señal analógica. La tasa
de muestreo o sample rate define cada cuánto tiempo se tomará el valor de la señal analógica para generar el
audio digital. Esta tasa se mide en Hertzios (Hz). Por ejemplo: 44100 Hz. nos indica que en un segundo se
tomaron 44100 muestras de la señal analógica de audio para crear el audio digital correspondiente. Un audio
tendrá más calidad cuanto mayor sea su tasa de muestreo. Algunas frecuencias estándares son 44100 Hz.,
22050 Hz., y 11025 Hz.
Resolución (bit resolution)
Es el número de bits utilizados para almacenar cada muestra de la señal analógica. Una resolución de 8-bits
proporciona 256 (28) niveles de amplitud, mientras que una resolución de 16-bits alcanza 65536 (216). Un
audio digital tendrá más calidad cuanto mayor sea su resolución. Ejemplo: El audio de calidad CD suele ser
un sonido de 44.100 Hz - 16 bits - estereo.
Velocidad de transmisión (bitrate)
El bitrate define la cantidad de espacio físico (en bits) que ocupa un segundo de duración de ese audio. Por
ejemplo, 3 minutos de audio MP3 a 128kBit/sg, ocupa 2,81 Mb de espacio físico (3min x 60 seg/min x 128
kBit/seg = 23040 kBits -> 23040 kBits x 1024 bits/Kbit : 8 bits/bytes : 1024 bytes/Kbytes : 1024 Kbytes/Mbytes
= 2,81 MBytes ó Mb). Por ejemplo en los audios en formato MP3 se suele trabajar con bitrates de 128 kbps
(kilobits por segundo). El audio tendrá más calidad cuanto mayor sea su bitrate y el archivo que lo contiene
tendrá mayor peso. Esta magnitud se utiliza sobre todo en el formato MP3 de audio más destinado a la
descarga por Internet.
CBR/VBR
Constant/Variable Bitrate. CBR indica que el audio ha sido codificado manteniendo el bitrate constante a lo
largo del clip de audio mientras que VBR varía entre un rango máximo y mínimo en función de la tasa de
transferencia.
Códec.
Acrónimo de "codificación/decodificación". Un códec es un algoritmo especial que reduce el número de bytes
que ocupa un archivo de audio. Los archivos codificados con un codec específico requieren el mismo códec
para ser decodificados y reproducidos. El códec más utilizado en audio es el MP3.
Decibelio.
Unidad de medida del volumen o intensidad de un sonido. El silencio o ausencia de sonido se cuantifica como
0 dB y el umbral del dolor para el oído humano se sitúa en torno a los 130-140 dB.
En conclusión, la frecuencia de muestreo es el número de muestras en el tiempo, la
profundidad de bits es el número de muestras en amplitud. A mayor número de muestras
mejor calidad, pero más ocupa el archivo. Con lo que hay que encontrar un buen compromiso entre
espacio-calidad.
https://www.youtube.com/watch?v=QGSHDsaD2e4
https://hoygrabo.com/que-es-frecuencia-de-muestreo-y-profundidad-de-bits/
LECCION 2
Review/Discussion Questions
1. Name some of the folders and files that Pro Tools creates as part of the session hierarchy. Where is the
session file (.ptx) stored? (See “Session Components” beginning on page 29.)
Audio Files, Bounced Files, Back ups, Wavecash, session file
Session file is stored in the Pro Tools session folder
2. What is the WaveCache.wfm file used for? What happens if the WaveCache file gets deleted or goes
missing? (See “WaveCache File” beginning on page 29.)
This file stores all of the wave form displays data of any audio in the session and enables the
session to open more quickly.
Pro Tools will recalculate the session wave form data when the session is next opened; however,
the session may take longer to open and displays
3. Where are audio files stored in the session hierarchy? (See “Audio Files” beginning on page 30.)
It is stored as a separate file inside the session’s Audio Files Folder
4. Where are Pro Tools’ MIDI files normally stored? (See “MIDI Files” beginning on page 30.)
MIDI data is normally stored within the Pro Tools session (.ptx)
5. Which components should you turn on first when powering up a Pro Tools system? Which component
should you turn on last? (See “Powering Up Your Hardware” beginning on page 31.)
External Storage drives and devices
External Midi Interfaces
Midi Controller
Audio Interface(s) (if not bus powered)
Computer and launch Pro Tools
Monitoring System
6. What type of processing does the Hardware Buffer Size affect? What type of processing does it not affect?
(Sce “Hardware Buffer Size” beginning on page 34.)
Host-Base Processing
DSP Processing
7. What kinds of commands can be found under the Pro Tools View menu? How does the View menu
differ from the Window menu? (See “The Pro Tools Menu Structure” beginning on page 35.)
View: Edit Window Views, Rulers, Regions, Waveforms, Automation, Sends, counters, plug-ins.
Views determine what you can see. Windows open up a new window in the session
8. What kinds of commands can be found under the Pro Tools Options menu? How does the Options
menu differ from the Setup menu? (See “The Pro Tools Menu Structure” beginning on page 35.)
The Options menu commands let you toggle several editing, recording, monitoring,
playback, and display options on/off. From this menu, you can enable loop recording,
toggle pre- and post-roll on and off, engage Dynamic Transport mode, set scrolling
options, and make other similar choices.
Options menu are toggled on and off. Setup menu display a dialog box when selected
9. Which main Pro Tools window displays audio waveforms and can be used to work directly with audio,
MIDI, and video files on tracks? (See “Main Pro Tools Windows” beginning on page 37.)
Edit Window
10. Which Pro Tools window provides access to Pan controls and Volume Faders for each track? (See “Main
Pro Tools Windows” beginning on page 37.)
Mix Window
LECCION 3
Review/Discussion Questions
1. What icon is used for the Zoomer tool in the Edit window? How can you use this tool to quickly
zoom out, filling the Edit window with the longest track in the session? (See “Zoomer Tool”
beginning on page 52.)
2. Which Edie tool is represented by a hand icon? What is this tool used for? (See “Grabber Tool”
beginning on page 54.)
3. Which tool is active when the Trim, Selector, and Grabber icons are all selected (highlighted in
blue) in the Edit window toolbar? (See “Smart Tool” beginning on page 55.)
4, Whatare the four Edit modes in Pro Tools? How can you switch between them? (See “Edit
Modes” beginning on page 56.)
5. Why should you use caution when editing synchronized material in Shuffle mode? When is
Shuffle mode useful? (See “Shuffle Mode” beginning on page 56.)
6. How does editing a clip in Slip mode affect the timing of other clips on the track? (See “Slip
Mode” beginning on page 56.)
7. When is it helpful to work in Spot mode? When it is helpful to work in Grid mode? (See “Spot
Mode” and “Grid Mode” beginning on page 57.)
8, What are some ways to set the Main Time Scale in Pro Tools? (See “Main Time Scale” beginning
on page 59.)
9. What are the two types of Rulers available in Pro Tools? What is the difference between them?
(See “Ruler Display Options” beginning on page 60.)
10. What are some ways to hide Rulers that you do not need displayed in a session? (See “Hiding
Rulers” beginning on page 61.)
11, Which Pro Tools windows provide access to MIDI controls, such as Wait for Note, Metronome,
and MIDI Merge? (See “MIDI Control Features” beginning on page 62.)
12. What is the purpose of the Metronome button in the MIDI Controls area? What kind of track
must be added to a session for the Metronome button to work? (See “Metronome” beginning on
page 62.)
13. What are the two states or modes available for controlling the current session tempo? How can
you switch between these modes? (See “Tempo Ruler Enable” beginning on page 63.)
14. What is displayed by the Tempo field in the MIDI Controls area? What are some ways to set the
session tempo using this field? (See “Tempo Field” beginning on page 64.)
Tranformar de imagen a Word
https://documento.online-convert.com/es/convertir/jpg-a-doc
⌘+shift+3 Captura de Pantalla completa
⌘+shift+4 Captura selección
(option+e) al mismo tiempo luego la letra = Tildar una letra
fn + delete Borra para la derecha
