This is in response to Samplefonz, who asked that I post the commands for EMRR's dilemma. I''m not saying this is ideal. Just that it's a way to do it.
EMRR wrote:In response to said singer, I see a need for the ability to define a stretch of time, and do take layers within a specific time frame, all else remaining the same take.
Ok, let me see if I get this right. You want to be able to set your punch-in range, then get multiple takes for that punch-in which you'll later comp the best take into the track, while the rest of the track remains in Take 1. Is that right?
- • You can't just create a new take, because that robs you of your reference track (take 1) which you were going to use to do the punch-in.
• You can't just do punch-ins, because that doesn't give you multiple takes to choose from and comp together into a final track.
• You need a way to remove that word or phrase ("define a stretch of time"), record multiple takes for that stretch of time, then play it back, immediately being able to audition the takes in that one little stretch. You may need to do it in several places.
So, here's a method. Not ideal, but usable. The first time will be a little more involved than subsequent edits later in the song.
This will require a combination of using multiple tracks and multiple takes. First, you should have the 3 vocal tracks grouped. I think you said that they are grouped, but if not, group them. It takes a moment before you begin a session, but part of your template setup should be to have these vocal recording tracks grouped so that everything you do to one of them, you do to all three of them. I usually record vocals with three mics, too, so I'm familiar with the setup. Set your group to include selections, moving, record enable, input monitor, show-hide takes, take comping, new takes, and so forth. Let's assume that you've already got this working as you want it. That means you'll save a lot of time when doing things like this, because you only do each step once, but it will happen to all three tracks. So, we'll start numbering the steps now:
- 1) Select the word or phrase over which you want to punch-in new takes. You should see your selection in three tracks, because they are grouped.
2) Hit CONTROL-COMMAND-S, which will create three new similar tracks, identical in every way but the data and name. Don't bother to name them right now. They're temporary.
3) Hit CONTROL-OPTION-HOME. This moves your three original tracks back together, above the three new tracks you created.
4) Your selection is still there. Hit COMMAND-Y. This snips the three audio tracks at the boundaries of the selection, turning your selection into soundbites exactly in the punch-in range.
5) Grab the 3 soundbites you just split from the 3 original tracks and SHIFT-DRAG them down to the 3 new tracks.
6) Hit CONTROL-SHIFT-OPTION-R. This takes your selection (still there, unless you clicked somewhere) and puts it in Auto-Record. (that's "punch-in" to us real men)
7) You still should have your selection of the three short soundbites of the word or phrase. (If not, select them) Tap the T-KEY 3 times to group your three selected tracks. As long as they stay selected, whatever you do to one will happen to all three.
8 ) Choose "New Take" from the menu in the Sequence Editor, for one of the selected tracks. You should now have three empty takes, with Auto-Record selected, your punch-in range set, and the original audio tracks still in Take one ready to playback while you do a punch-in recording on the new blank takes. If you know the keyboard commands, this will have taken less than 10 seconds.
9) Record your punch-in. Repeat steps 8 & 9 as often as needed.
At this point you've got the new takes. Ideally, you would take the time to permanently group these three tracks, but you can do it with the temporary group in the selected tracks. Later, you show takes, choose the Comp tool, and proceed to let the artist hear that phrase over and over, each time with a different take of "the word," clicking on the alternate takes with the comp tool. When you find the take you like, you have the option of shift-dragging it back into the original track or using it where it is.
Ok, that SEEMS like a complicated process, and I won't deny that a lot is happening, but with the keyboard commands it goes very, very fast. That's how THIS real man would do it. But I also eat quiche. There may be an easier way to do it which I am not seeing at the moment. In fact, I can think of ways to make it less-involved, but you probably can, too.
Feel free to ask MOTU for a command that does all this, but I'm a little skeptical that they'll actually do it.
Shooshie
