The Master Session

The Basics

There should be only one Master session.
In a perfect world this would always be the case. A single clearly labeled
Master session resolves any question about where the final tracks are.
The final results of work done in other sessions should be imported into
the Master session.
This is the key to keeping track of the final elements of the production. The
same convention is used with tape reels.

Always label audio tracks before recording, and Rename all audio files that
were recorded before a track was labeled.
This will prevent audio files from being named "Audio 1_01”, which makes
it difficult to differentiate and locate them later.

Use comments section liberally.
This is very important. Include any information you feel may assist future
engineers in understanding your or the producer's intentions, similar to
notes on a track sheet.

Always label internal Busses in I/O Set-Up...
This is a tremendous time saver for the next engineer when tracking the
routing of the audio.

Label Inputs, Outputs and Inserts in I/O Set-Up...
This is very useful when recreating patching from a previous session.

Confirm that computer's Date and Time are set correctly.
This insures all file's Date Created and Date Modified information will be
correct. If two files have the same name the newest can be chosen.

When Creating A New Session

The session should be labeled "Song Title-Master".
Keeping the main session always labeled as the Master communicates to
everyone that this is the session to work on. Renaming the session with
the initials of each operator, or new instrument, creates a long list of
sessions without communicating to the next operator what the current
session is. To keep a safety of the session before working, make a copy
and place it in the Old Sessions folder. .WAV is the recommended audio file type for compatibility with all DAW systems.

We recommend using these folder names to keep your session folder
organized:
• Old Sessions – for all non-current sessions.
• Source Sessions – for all retired source tracks sessions.
• MIDI Files – tempo maps, MIDI sequence files, etc.
• Rough Mixes
• Final Mixes

WAV is the most universally accepted audio file format.

Enforcing Mac/PC Compatibility is recommended to improve session
interchange between all Pro Tools systems.
As more PC based systems come online this will become more important.
Make sure you save the session to a level on your audio hard drive where
you and future operators can locate it.

A few things to watch for are unintentionally saving the session to the
Session folder of another session, to an Audio or Fade File folder, or to
the CPU's hard drive, any of which might make it difficult to find later.
Make sure the VSO setting is un-checked in the Session Set-Up window
when using a SYNC I/O or USD.
The previous session’s VSO settings can unintentionally be applied to the
next new session that’s created. When the new session is played back on
systems without VSO capabilities, or mixes are bounced to disk or printed
digitally, they will playback at the wrong speed.

Create some form of tempo map in the conductor track for appropriate
music styles. Applicable to most modern music production, this should be one of the first things done during the basic tracking session, or at least at the
earliest possible stage. You can simply place a single tempo marker at the
beginning of the song, use Beat Detective to create a Tempo Map, or
import it from a MIDI sequence. Editing in Bar|Beat Grid mode is one of
P&E Wing Pro Tools Guidelines for Music Production – v2.0 9
the biggest time saving aspects of Pro Tools. If there is no tempo
information, this benefit is lost.

Always include the Click plug-in on an Aux Input, or create an audio click
track, for appropriate music styles. Keep at top of session if possible
(shown or hidden).
The Click plug-in is included with Pro Tools 6.x and can receive broadcast
tempo data from your tempo map. With earlier versions of Pro Tools you
should always create or record an audio click track.

Create Memory Location markers of song's arrangement.
This may be imported with the tempo map from a MIDI sequence. This
allows all operators after you to quickly understand the structure of the
song and easily move about.
Include key and modulation information in Get Info...
It's nearly essential when tuning tracks, just as tempo information is useful
when setting delay times. Give key with additional accidentals. Example:
"Key: G min w/ A, C#" Key and modulation info may also be placed in
markers track.

Cleaning Up
Clean all edits and punches, put in crossfades if necessary, and insure
there are no clicks and pops.
This is simply considered good Pro Tools etiquette, and greatly
appreciated by all who follow you.

Consolidate tracks into solid audio starting from the beginning of the
session when you are completely finished editing them.
Consolidating tracks improves session playback, and lessens the number
of audio files and crossfades, which simplifies archiving and restoration.
Starting from the beginning of the session will allow tracks to easily be
used with other DAW's, and is a second way to confirm sync. Definitely
insure there are no clicks and pops before consolidation. An
unconsolidated version may be kept in the playlists.


Always print tuned tracks to another track when you are finished tuning
them. This is very important. Auto-tuning plug-ins do not tune identically on each
pass. The only way to get consistent results is to print them. As well, the
next system may not have the plug-in or enough DSP power. You may
also wish to correct any delay caused by the tuning process. Note in
comments if it's corrected or if you wish to leave the delay.

Delete all tracks that are no longer needed in the session.
This will also make the session more manageable.
Periodically delete redundant or unnecessary playlists.
Depending on your working style, it is possible for the playlists to become
very cluttered and unmanageable. To make it easier to find alternate takes
in the future, delete those you don't need.
Remove unused audio files before closing the session.
Doing this after doing the above two items will really clean out all the files
in the session you were no longer using. This makes the session even
more manageable, lessening the number of files for archiving and
restoration. (Caution: Do NOT Delete unused audio files. This is
something you should do ONLY when you fully understand the command
after reading the manual. This command will permanently ERASE files
from your hard drive and cannot be undone.)

Organization
Try to leave tracks organized in an order that makes sense to you when
closing the session.
Possibly in the order you would organize them on a track sheet or console
(e.g. drums, bass, gtrs, etc.). When tracks are grouped in this manner it
makes the next operator's job much easier when they're trying to get a
feeling for what's in the session so they can go to work.

Keep the Aux Input returns of submixed tracks (e.g. BG Vocals) adjacent to
the source tracks.
Along with labeling the busses, this makes it much easier to track the
routing of the audio.

Generally keep FX Returns (Aux Inputs) and the Mix Bus (Master Fader)
preferably to the right and bottom, or optionally to the left and top of the
session. This makes it much easier than if they are scattered about the session.
Deactivate, mute, hide and generally move to the bottom/far right all tracks
that are no longer being used in the session.
As tracks accumulate and multiple versions of the same instruments begin
to appear, this is the clearest way to communicate these tracks are no
longer being used. Usually they are just being kept for reference
purposes. Clearly label in the comments why they are not being used.
Keep all tracks that are still being used in the session showing and
essentially to the top/far left.
When the next operator opens the session this easily communicates
which tracks are currently active. If tracks are hidden that are playing,
especially in larger sessions, it can really slow things down when the
operator is trying to locate something.

Additional Items

Keep a recent rough mix labeled with song title and date on a pair of tracks
at the top of the session.
Very useful when anyone wants to see how something sounded
previously. Labeling with song title prevents confusion with other mixes on
system.

Use Mute Regions instead of muting with automation to mute audio tracks.
This is preferred for a number of reasons. First, it visually tells you what is
being used and what's not, as well as letting you see parts you may want
to unmute later. Secondly, it is more reliable because the automation can
be turned off later and your mutes will not be maintained.

Label Aux Inputs with name of outboard gear used and document settings
in comments. Very useful when recreating a setup from an earlier session.
Patching gear into the same numbered inputs and outputs (e.g. In 8/Out 8) on the
audio interface can also be helpful.

Optional Suggestions
Using send and return routing (Aux Inputs) for reverb, chorus, and delay
effects is generally preferred instead of inserting them on the audio tracks.
This is much more DSP efficient, and how these effects are usually
handled on consoles.

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