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#1
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managing multiple takes in ProTools
can any suggest an efficient method for keeping audio files organized
when recording multiple takes using quickpunch and/or automatic punch-in? do you just record over what have previously or do you create a new playlist for the track? any suggestions would be greatly appreciated. |
#2
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"H" wrote in message news:O7UHe.121241$wr.96639@clgrps12... can any suggest an efficient method for keeping audio files organized when recording multiple takes using quickpunch and/or automatic punch-in? TTBOMK, quick-punch starts recording the moment you hit play, and only replaces the audio in the window with new audio after you hit record and up until you hit play again... but it records audio until you hit stop. (Don't ask) It's sort of a convoluted naming scheme, but it's done for you. Just look at your files window as you work and it will start to make sense. Usually, it increments the numeric value of the named track by one, each time you punch in on that track. do you just record over what have previously or do you create a new playlist for the track? The old audio never goes away until you "Consolidate" your files. Even though you punch in on top of a section of 'old' audio, the old audio remains in your audio files folder until you consolidate. This probably isn't much help, but I've just start tackling PT myself. -- David Morgan (MAMS) http://www.m-a-m-s DOT com Morgan Audio Media Service Dallas, Texas (214) 662-9901 _______________________________________ http://www.artisan-recordingstudio.com |
#3
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Hi,
It's very seldom I would use quick punch. I prefer to set in and out times, with pre and post roll. That way all the takes have the same start time and can be listed in the regions window showing regions with a similar start time. For overdub sessions I would usually open a few tracks and group them all to the same aux input and just record a take on one track and then move it to one of the empty tracks. If you label the recording track the take numbers should be sequential. I use playlists only when doing multi track work, using each play list for each subsiquent take. That said there are so many ways of using tools, everbody does it a bit different. Regards DS |
#4
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"studiorat" wrote in message... It's very seldom I would use quick punch. I prefer to set in and out times, with pre and post roll. That way all the takes have the same start time and can be listed in the regions window showing regions with a similar start time. For overdub sessions I would usually open a few tracks and group them all to the same aux input and just record a take on one track and then move it to one of the empty tracks. If you label the recording track the take numbers should be sequential. I use playlists only when doing multi track work, using each play list for each subsiquent take. That said there are so many ways of using tools, everbody does it a bit different. Indeed. I use PT like a tape machine, and I can punch in and out, re-take as necessary, and probably be done before in and out points could be programmed. I then clean up the punch points (rarely necessary) and as soon as possible, consolidate... eliminating unused audio regions. I always 'undo' new audio if the punch didn't work, so nothing builds up in the regions list. As to pre-roll... just drop the cursor where you want to start and hit play. Yup... many approaches... I still have yet to understand why a playlist is necessary, let alone used one. I think one of the keys to PT (as with anything) is learning to make decisions and cleaning up the folders at the end of every session. Just don't keep a bunch of trash audio that you don't need. Consolidate and then toss out any unsused audio. As to overdubs... I have 32 ins and outs, so I don't need anything but a one-to-one I/O setup and channel to track routing (if necessary) can be done at the desk. -- David Morgan (MAMS) http://www.m-a-m-s DOT com Morgan Audio Media Service Dallas, Texas (214) 662-9901 _______________________________________ http://www.artisan-recordingstudio.com |
#5
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I worked for many years without even knowing that PT HAD a playlist
function...a friend of mine recently hipped me to it, and I can't believe I ever comped a vocal without it. It is so much quicker to go through takes and comp together a good track using a playlist (or virtual track, or whatever you want to call it ) --Matt |
#6
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"Matt" wrote in message oups.com... I worked for many years without even knowing that PT HAD a playlist function...a friend of mine recently hipped me to it, and I can't believe I ever comped a vocal without it. It is so much quicker to go through takes and comp together a good track using a playlist (or virtual track, or whatever you want to call it ) Obviously, I have much to learn about PT. I'm lucky enough to be in an environment where mixing 'in the box' is not necessary at all. If comping has been necessary, I've been comping vocals by picking the keeper parts from the various tracks and pasting them together on a single track. :-( DM |
#7
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David,
That is exactly how I used to work, and there certainly is nothing wrong with that approach! What I like about using playlists now to accomplish this, is that you really only need to look at two tracks at any given time...the take that you are auditioning, and your comped track (right below it, usually). If you have a generally good take but you need to just fix a sentence or something, you can delete the line in your "comped" track, leave the area selected, and then rapidly click through your playlists to listen to only that line that you are looking for, and when you find the best one, a quick copy and paste. It really isn't that much different than the way you are working now, but if your screen real estate is limited and you have a bunch of tracks going, each with a different take, things just tend to get cluttered and your session goes a bit slower than maybe you would like. Lots of muting, scrolling, wheezing etc. Agreed on the decision-making part, but I love the safety net of just knowing that everything is in the bin if I royally eff something up. Good luck, |
#8
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If you have a generally good take but you need to just fix
a sentence or something, you can delete the line in your "comped" track, leave the area selected, and then rapidly click through your playlists to listen to only that line that you are looking for, and when you find the best one, a quick copy and paste. I use a similar, but slightly different method for vocal recording/comping: -Name a new track "Vocal.01" and record a take -Select "new take" in the popup menu of the same track, which will create a blank take and automatically name it "Vocal.02" and record a new pass -Repeat step 2 for as many vocal takes as desired, which will all be auto-numbered sequentially -Create another new take on the same track and name it "Vocal Comp" -After choosing a portion of a take as final, select it and copy it to the clipboard. Leave the area selected. -Switch to the comp take and hit paste. The segment will be perfectly placed in the comp. -Repeat until the comp is done It eliminates the possiblility of accidentally moving a segment in time, and one "select" operation covers both copy and paste. It also leaves the original takes intact. Alternate comps can be made my creating new takes called "Vocal Comp 2" etc., and pasting all or part of the first comp into them in a similar manner. What I like about the method is it's very fast, nearly mistake-proof, and uses only one track's worth of screen real estate, making it easier to access the other tracks in the mix. Ted Spencer, NYC www.tedspencerrecording.com |
#9
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Cool, Ted. I just printed your response and I'm gonna give it a whirl
on my next session. A track is a track, and every little bit helps. So real estate is at a premium in NYC...who woulda guessed. --Matt Fort Lauderdale, FL |
#10
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"Matt" wrote:
It really isn't that much different than the way you are working now, but if your screen real estate is limited and you have a bunch of tracks going, each with a different take, things just tend to get cluttered and your session goes a bit slower This is also has the benefit of not tying up output voices with stuff you're not using. Let's say you've got five vox takes... that's five tracks plus the comp. With a playlist, it's only two. In PTLE, where the max is 32 tracks, that can become an issue on bigger sessions. Admittedly you won't run out very often (somehow we managed to get by with 16 or 24 in the tape days), but is has happened to me a couple times on sessions with lots of stereo sources. -- "It CAN'T be too loud... some of the red lights aren't even on yet!" - Lorin David Schultz in the control room making even bad news sound good (Remove spamblock to reply) |
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