98 CHAPTER 2 Basic Sequencing Techniques Exporting an SMF from CU requires you to select File Export MIDI File. Give a name to the new file and click the Save button. In the Export Options window you can select several parameters such as the tick resolution and the file type (1 is the default). To import an SMF into CU simply drag the file into the main window; both tempo and meter maps will be automatically imported along with all the MIDI data. To export a sequence from PT in SMF select File Export MIDI. In the Export MIDI Settings window you can choose the type of file to export (1 or 0) and whether you want to apply the real-time effects applied to the MIDI regions. Importing an SMF into PT is as straightforward as dragging the MIDI file into the Edit window. PT gives options regarding importing tempo and meter maps in the MIDI Import Options window that is presented to you after dragging the SMF to the Edit window. 2.16 SuMMArY The sequencer is the central hub of your MIDI and audio network. It allows you to record, play back, edit, and store MIDI and audio data. To achieve the best results in a problem-free and smooth working environment, you have to organize your sessions and projects in the right way. The use of templates can improve considerably the organization and the speed of your sessions. I recommend having a series of premade templates for different ensembles and project situations that you can recall when necessary. After organizing your MIDI and audio tracks, make sure all the connections in your studio work prop- erly. Always do a "preflight" check before every session, especially if you expect to work with a client or a colleague. Check that the MIDI tracks are working and that every device in your studio is receiving and sending MIDI data. Do the same for your audio tracks. Try to record and play back a few seconds of audio to test the audio connections. Make sure before starting your project that you have a clear idea where all the session files are located on your HD, that you have enough space to record, and that you have a quick backup plan to use during session downtimes. Before starting recording, also make sure that the metronome is set up right, that it is played by the internal audio engine of your DAW, and that it is set at the tempo you feel most comfortable. Remember that the click track is your best friend in a sequencing environment, not your worst enemy, so play with it and do not fight it. When recording MIDI or audio tracks, make use of multiple takes so you have as much material as possible to edit later. Record different passages, choose the best takes, and compile the final track from several passages. When editing a part, use the edit window that best suits what you are trying to achieve. Each editor has pros and cons. Use the one you feel most comfortable with and that you think is going to help you to complete the editing task quickly and easily. Quantization can vastly improve the final result of your projects if it is used in the right way. Remember that quantization is not a magic tool; it can only fix what was already good enough to be interpreted in the right way by the sequencer. Choosing the right quantization value is crucial: it should be equal to or smaller than the smallest rhythmic subdivision present in the region you are quantizing. The addition of audio loops and audio parts in general can greatly improve the overall feel of your project. When dealing with rhythmic loops, make sure they match the tempo of your sequence. After importing the loop, if you do not know its tempo you can use the following formula to calculate the tempo, in beats per minute: (NB SF 60)/NS, where NB is the number of beats of the loop, SF is the sampling frequency in hertz, and NS is the number of samples of the loop. You can also use specific shortcuts avail- able on each sequencer to make the tempo of the loop match the tempo of the sequence, or vice versa. The automation of parameters such as volume, pan, and mute is a fantastic tool for improving and expanding the boundaries of your projects. An automated mix can be static (with the insertion of snap- shots of single data) or dynamic (with the insertion and recording of continuous movements and data).