Term
| The P&E Wing DAW guidelines are organized into two parts. They are: |
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Definition
a. Universal Guidelines
b. Platform Specific |
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Term
| The abbreviation for Digital Audio Workstation. |
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Definition
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Term
| We use this term to refer to the document or file that is essential the map of all elements associated with the current song. Depending on the platform this may be referred to as the “project file”, “project document”, “song file” or “session file.” |
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Definition
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Term
| Depending on the platform this may be referred to as an “audio file” or a “soundbite.” |
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Definition
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Term
| A block of data, often used for editing purposes, that is either a portion of an audio or MIDI file, or the entire audio or MIDI file. Depending on the platform this may be referred to as a “region”, “event”, “clip”, or “sound bite.” |
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Definition
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Term
| To take multiple segments (see below) on a single track (e.g. vocal comp or edited guitar part) and convert them into a single contiguous file. No processing is added to the file when it is rendered. Depending on the platform this operation may be referred to as “bounce”, “merge soundbite”, “glue”, or “consolidate.” |
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Definition
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Term
| The function of turning a track or plug-in (if applicable to your DAW) “off”, so it does not use any CPU or DSP resources. The opposite of activate or enable (see above). Depending on the platform this process may be referred to as “deactivate”, “disable”, “track mute with CPU-saving preference selected”, or “archive.” |
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Definition
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Term
| The function of turning a track or plug-in (if applicable to your DAW) “on”, so it uses CPU or DSP resources. The opposite of deactivate or disable (see below). Depending on the platform this process may be referred to as “activate”, “enable”, “unmute track with CPU-saving preference selected”, or “unarchive.” |
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Definition
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Term
| A sequence of segments (see below) arranged on an audio or MIDI track that allow the user to create alternate versions with different edits or takes of a performance. Depending on the platform this may be referred to as a “play order list”, “take” or “playlist.” |
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Definition
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Term
| A marker that denotes a point in the project/session’s timeline; most often used in music production to illustrate the different sections of a song (e.g. Verse 1, Chorus 2, Bridge, etc.). Depending on the platform this may be referred to as a “marker” or “memory location marker.” |
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Definition
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Term
| An automatic adjustment by DAW software for the delay or latency caused by routing, bussing or plug-in processing of a track (if applicable to your DAW). Depending on the platform this may be referred to as “delay compensation” or “latency compensation.” |
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Definition
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Term
| Name the four types of projects and their abbreviations. |
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Definition
a. Master (MST)
b. Slave – Outgoing and Returning (SLV)
c. Source (SRC)
d. Mix (MIX) |
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Term
| List the basic requirements for a Master Project/Session. |
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Definition
a. There should be only one Master project/session.
b. The final results of work done in other projects/sessions should be imported into the Master project/session.
c. Always name audio tracks before recording, and rename all audio files that were recorded before a track was labeled.
d. Use comments section liberally (if applicable to your DAW).
e. Always label internal Busses (if applicable to your DAW).
f. Label Inputs, Outputs and Inserts (if applicable to your DAW).
g. Confirm that computer's Date and Time are set correctly. |
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Term
| What label indicates that this the project/session to work on? |
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Definition
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Term
| What is the recommended audio file format compatible with most DAWs? |
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Definition
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Term
| What is the preferred bit resolution? What will we use? Why? |
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Definition
| 24 bit,Since it sounds better than 16 bit and the max bit depth on most A/D converters is 24 Bit. |
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Term
| What do you need to make sure of when saving the project/session? |
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Definition
| To make it easy to find for future operators to find and making sure not to save it to another place other than the session/project folder. |
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Term
| What is a tempo map and how is it used? |
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Definition
| It allows you to create a tempo for your song and you can place tempo markers throughout the song and it is used to help create a click track. |
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Term
| What generates the above and should always be included? |
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Definition
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Term
| What are markers good for? |
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Definition
| They help organize the song and helps to understand where the different parts of the song take place especially for other operators |
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Term
| Where should key and key change (modulations) info be placed? |
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Definition
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Term
| What is delay compensation and where should this info be placed? |
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Definition
| Delay compensations is used to maintain the phase coherency of the original project/session. This information should be placed in the Project Info document. |
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Term
| What are the advantages of included a tuning note on its own separate track? |
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Definition
| It is good for tuning instruments as well as helping to resolve the question of whether the initial project/session was clock to an external source that was not the same as the sample rate setting of the project/session. |
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Term
| What is considered cleaning up? |
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Definition
a. Clean all edits and punches, put in fades if necessary, and insure there are no clicks and pops.
b. Render tracks into contiguous audio files starting from the beginning of the project/session when you are completely finished editing them.
c. Always print tuned tracks to another track when you are finished tuning them.
d. Delete all tracks that are no longer needed in the project/session.
e. Periodically delete redundant or unnecessary edit lists (if applicable to your DAW).
f. Remove unused audio files before closing the project/session (if applicable to your DAW). |
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Term
| Name some organizational suggestions. |
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Definition
a. Leave tracks organized in an order that makes sense to you when closing the project/session.
b. Keep the returns of internally bussed submixes (e.g. BG Vocals) adjacent to the source tracks (if applicable to your DAW).
c. Generally keep effects returns and the mix buss channel preferably to the right and bottom, or optionally to the left and top of the project/session (if applicable to your DAW).
d. Create a blank track labeled "---UNUSED---" to place between the used and unused tracks.
e. Keep all tracks still being used in the project/session showing and above/to the left of the “---UNUSED---” marker (if applicable to your DAW).
f. Deactivate or disable, mute, hide and generally move below/to the right of the “---UNUSED---” marker (if applicable to your DAW) all tracks that are no longer being used in the project/session. |
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Term
| Name some additional helpful hints to organizational suggestions. |
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Definition
a. Keep a recent rough mix labeled with song title and date on a pair of tracks or stereo track at the top of the project/session.
b. Use the mute audio segment functionality of your DAW, instead of muting with automation, to mute audio elements (if applicable to your DAW).
c. When using outboard gear, label I/O channels with direction (to/from) and name of gear used, and document settings in comments (if applicable to your DAW) or Project Info document.
d. Using send and return routing for reverb, chorus, and delay effects is generally preferred instead of inserting them on the audio tracks.
e. Comment tracks can be created using blank MIDI tracks and renaming blank MIDI segments that will be easily visible on the timeline. |
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Term
| What is a Slave Project and what is the difference between outgoing and returning? |
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Definition
a. They are usually reduced track versions of the Master that are satellite projects/sessions used for overdubbing (e.g. strings, backgrounds) or editing tracks (e.g. vocal comping).
b. Outgoing is before it is overdubbed/edited and returning is afterwards |
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Term
| What are the submixed tracks called? |
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Definition
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Term
| Name 2 key elements this submixed track should contain. |
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Definition
a. The stems (submixes) should be printed so when their faders are all set to the same level (e.g. all set to –5 dB) they can hear your mix.
b. The submixes should allow the receiving users to hear the parts blended so they can make proper musical decisions for overdubs. |
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Term
| How should a Slave project be labeled? |
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Definition
The project/session should be labeled with the song title, a description of
its purpose, and the abbreviation "SLV" (e.g. "Song Title-String SLV"). |
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Term
| What type of audio files and how many tracks should a Slave project have? |
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Definition
| 24 or less WAV audio files |
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Term
| List key elements a Slave project should include. |
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Definition
a. The start time and frame rate must be the same as the Master's.
b. Include the tempo map.
c. Include a Click plug-in track or an audio click track. Keep at top of project/session if possible (shown or hidden).
d. Include timeline markers of the songs arrangement.
e. Include key signature and modulation information in Project Info document.
f. Include separate reference tracks of the instruments the project/session is being sent out to have overdubbed if applicable. |
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Term
| 24. What happens when Slave projects are returned? |
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Definition
| They are transferred back to the master project/session |
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Term
| What is the most critical part of the process of returning slave projects? |
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Definition
Return all the tracks that were in the Slave project/session when you
received it. |
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Term
| How do you know that returning all the tracks that were in the slave project/sessions when you received it is important? |
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Definition
This is very important to confirm the sync of the new tracks, and so the
new tracks can be heard together with the Slave’s original tracks exactly
as they were when the work was done. |
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Term
| What should be done with comments in the SLV Project info? |
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Definition
| Make note of changes or edits done to the original tracks of the Slave in the comments (if applicable to your DAW), as well as the Project Info document, so they can be imported or reproduced in the Master. |
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Term
| What should be done about edit changes that sometime occur in the SLV tracks, individual tracks, or submixes? |
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Definition
Make note of changes or edits done to the original tracks of the Slave in the
comments (if applicable to your DAW), as well as the Project Info
document, so they can be imported or reproduced in the Master. |
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Term
| Lastly, What is usually forgotten but most important to include in the Project info folder in case the receiving studio/engineer/producer has questions? |
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Definition
| Include your name and contact information in the Project Info document |
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Term
| What are Source Projects/Sessions? |
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Definition
tracks (e.g. drum takes, vocal takes, strings) that have been comped or
submixed down to tracks in the Master. These tracks are no longer needed so they are
taken out of the Master project/session and kept in Source projects/sessions for future
reference. |
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Term
| How are source projects/sessions labeled? |
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Definition
The project/session should be labeled with the song title, a description of
the tracks removed from the Master, and the abbreviation "SRC" (e.g.
"Song Title-Ld Vox SRC"). |
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Term
| Where should source track files be stored? |
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Definition
The project/session should be saved to the Source Projects/Sessions
folder. |
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Term
| Why should only one Mix Project/session exist for each mix? |
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Definition
| This resolves any question about where the final mix project/session is. |
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Term
| How should a Mix Project/session be stored? |
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Definition
| It should be labeled Song Title- “MIX” is to distinguish it from the Master (“MSTR”) project/session, which may have tracks and/or plug-ins you wish to keep, but not want to send to the mixer. |
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Term
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Definition
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Term
| What mix attributes need to be labeled? |
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Definition
| any unlabeled busses, inputs, outputs and inserts |
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Term
| How should the use of external gear be noted? |
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Definition
Label inputs with name of outboard gear used and document settings in
comments |
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Term
| It is important to include some form of tempo map. If a click doesn’t exist, how can one be created? |
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Definition
place a single tempo marker at the
beginning of the song and confirm it stays in time until the end. If it
doesn't, you can manually create a tempo map by identifying the
downbeats of each measure based on the click track, kick drum, or main
drum loop. |
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Term
| What are timeline markers? |
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Definition
| They allow the mixer to quickly understand the structure of the song and easily move about. |
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Term
| Where should one include key signature and modulation info? |
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Definition
| in the Key Signature ruler (if applicable), and in the Project Info document. |
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Term
| What is important to remember about tracks that are deliberately copied? |
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Definition
| To note it in the comments so a mixer won’t “correct” a timing change you intended |
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Term
| Where is it customary to put a Final Rough Mix in the timeline and how should it be labeled? |
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Definition
Print a "Final Rough Mix" labeled with song title and date on a pair of
tracks at the top of the project/session. |
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Term
| How are versions of the final mix labeled? |
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Definition
| the song title and type of mix (e.g. "Song Title-Voc +1", “Song Title-TV Mix”, "Song Title-Inst", etc.). |
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Term
| Name three recommendations when it comes to the use of plug-ins in a mix, or tracks being sent out to be mixed. |
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Definition
print them to another track.leave clearly labeled unprocessed versions of the above printed
tracks. Keep plug-ins and settings. Deactivate or disable, mute, hide and
generally move these tracks to the bottom/far right
Leave in only nonessential plug-ins the producer would like the mixer to
reference and remove the rest. |
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Term
| What are four recommendations concerning the use of automation? |
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Definition
If volume automation is used to fade-in or fade-out of regions, it is best to
replace it with created audio fade-ins and fade-outs.
Use the mute audio segment functionality of your DAW (if applicable),
instead of muting with automation, to mute audio elements.
Leave any automation the producer wants the mixer to use (e.g. BG vocalblends, panning automation) and label it clearly in the comments (if
applicable to your DAW) or track label. |
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Term
| List seven required elements every project that should be checked for before leaving your studio. |
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Definition
1. Every track is there that is supposed to be.
2. All parts are on each track that are supposed to be.
3. All flys (copied and pasted parts or sections) have been completed.
4. All comps (composite tracks) are completed and clearly labeled.
5. The correct lead vocal or lead melody instrument is there and VERY clearly labeled.
6. If the lead vocal or melody instrument is tuned, we recommend leaving a
clearly labeled un-tuned version of it on another track.
7. All tuned tracks have been printed to another track and are clearly labeled
as tuned. |
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Term
| List six points that are considered “cleaning up”. What is the most important one? |
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Definition
Clean up tracks by going through them and deleting loud noises and other
extraneous elements you don't want in the mix.
Check that all edits and punches are clean and make sure there are no
clicks and pops. If your DAW has an automatic audio segment fade in/out
function, set the fade time to “0 ms” (or turn it off) before checking edits.
Put in fades if necessary.
Render tracks into contiguous audio files starting from the beginning of the
project/session when you are completely finished editing them.
Delete all tracks that are not needed for the mix.
Delete all edit lists that are not needed for the mix (if applicable to your
DAW).
Remove all unused audio files before the final save of the project/session
(if applicable to your DAW). |
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Term
| What is a general rule about the order of tracks? |
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Definition
| Put tracks in an order that makes sense to you. |
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Term
| Submasters, submixes, or busses of tracks are recommended to be ______ to the source tracks. |
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Definition
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Term
| ______________ and the _________ should appear to the right and bottom, or left and top of the project/session. |
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Definition
| Effects returns,mix buss channel |
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Term
| Optional tracks should remain showing, but deactivated, muted, or _______ and labeled in the comments folder. |
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Definition
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Term
| The purpose of a blank track labeled “unused” is: |
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Definition
| To place between the tracks to mix on the top/left and those not being used on the bottom/right makes it very clear which tracks are for the mix |
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Term
| Used tracks should be _______ of the unused blank track. |
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Definition
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Term
| Deactivated, muted, or disabled tracks should appear ____________ of the unused blank track. |
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Definition
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Term
| Lastly, it is recommended ________ be left showing so the mixer can read immediately what information is deemed important. To avoid session clutter, information can certainly be stored as a .___ or .___ file also. |
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Definition
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Term
| Generally speaking, outputs should all be routed to a stereo buss or ______ |
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Definition
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Term
| What determines what is the current project/session to be worked on? |
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Definition
the only project/session file showing on the top
level of the project/session folder. |
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Term
| Where should all other project/session files be stored? |
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Definition
| All other project/session files should be stored in folders |
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Term
| List the six suggested folders for all project/session files and information. |
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Definition
• Project History or Session History – for all non-current projects or
sessions. Use applicable name.
• Source Projects or Source Sessions – for all retired source tracks
projects or sessions. Use applicable name.
• MIDI Files – MIDI sequence files, tempo maps, Sys Ex data, etc.
• Auxiliary Audio Files – impulse responses, samples, REX files,
Reason files, etc.
• Notes
• Rough Mixes
• Final Mixes |
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Term
| What is the difference between a History folder and a Source folder? |
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Definition
| History is for all non-current projects or sessions. While source is for all retired source tracks projects or sessions. |
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Term
| Do you see any issue(s) with these two folders? |
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Definition
| You need to names that match the folders could be confused. |
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Term
| What should be found in a MIDI file folder? |
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Definition
| MIDI sequence files, tempo maps, Sys Ex data, etc. |
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Term
| What should be stored in a Auxiliary Audio file folder? |
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Definition
| impulse responses, samples, REX files, Reason files, etc. |
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Term
| What simplifies backup and copying of project/session data? |
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Definition
When using a single drive, the current Master, Slave, or Mix
project/session’s audio files should all reside in a single Audio files folder
at the top level of the project/session’s folder (if applicable to your DAW). |
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Term
| What recommendation is made if a project’s audio files are on two drives? |
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Definition
| There should be only one project/session folder containing a single Audio files and Fade files (if applicable) folder per drive |
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Term
| 10. What mediums/formats are recommended for data backup or transferring? |
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Definition
saving project/session data to CD-R’s, DVD-R’s, or FireWire
drives for their universality. |
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Term
| What is the best advice you could give someone concerning file storage? |
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Definition
Always keep a safety copy of a project/session and all its files in your
possession when sending a project/session out. |
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Term
| What term is used to describe always keeping a copy of a project? |
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Definition
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Term
| What is meant by pull-up/pull-down project settings? |
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Definition
The supplier must provide complete documentation concerning synchronization during recording of the
project/session.This includes Project/Session Setup Sync Source, Time Code Rate and
actual Drop Frame status, connection to House Sync, and House Sync
Rate. |
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Term
| What is the purpose of the Project Info document and what has it replaced? |
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Definition
| text document we suggest you include with your projects/sessions to keep all relevant documentation for the next operator. It is designed to include information usually found on tape box labels and tracksheets, along with some recall documentation. |
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Term
| What type of file extension is recommended for this document and why? |
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Definition
a plain text document with the “.txt”
extension.
Files with the .txt extension can easily be opened by any program that
reads text and are considered to be platform independent. |
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Term
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Definition
The Project Info document should be labeled with the same name as the
project/session it is referencing, followed by the suffix "-INFO" (e.g.
"Project/Session Name-INFO.txt"). |
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Term
| How should one keep track of all work done on a project/session? |
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Definition
| in the same project/session folder as the project/session file it is referencing. |
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Term
| How many documents should there be? |
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Definition
Only have a single Project Info document for each set of projects/sessions
that share the same audio files and project/session folder (i.e. one per
song). A single Info Document can keep information about multiple
projects/sessions of the same song. |
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Term
| What is a general rule of thumb about documentation in general? |
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Definition
Include the name and contact information for each operator in the Project
Info document. |
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Term
| What important audio file procedure is considered the final step in the archival process after all edits, etc., for a single track have been completed? |
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Definition
Keep a running history of all work done on the project/session file with the
dates worked, the work done and the operators name. |
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