Load outputs & sends only of a track?experts wanted

[rockman413]

Hi there
How can we achieve this :
We have 10 audio tracks in file A, another 10 audio tracks with the same name but different outputs and sends in file B. how can we load the file B outpus and sends and REPLACE with the outputs and sends in file A?

[Shooshie]

To do this, you would:

• Use the LOAD command (File Menu) to import the chunk whose I/O layout you want to copy.
• Select that chunk you just imported, and in the Chunks Window Mini-Menu, choose "Duplicate Track Layout."
• Open the other chunk, the one you want to change, and Select All. Copy the data. (COMMAND-C)
• Now open the duplicated track layout, and paste the data into it.
• You now have the data in a chunk with the I/O and Sends exactly like the one you wanted to emulate.

If you also need mixes and automation, the process is similar, but instead of duplicating the track layout, you duplicate the sequence. Prepare this newly copied sequence by deleting all MIDI and Audio data. Now copy in the MIDI and Audio data from the other sequence. This only works, of course, if the tracks are ordered identically in both chunks.

Somewhere else I remember reading your question as to whether you can change mixes and in doing so also change sends. At least, I think that's what you asked. No, mixes do not include I/O and Send settings. I/O and routing are fundamental to a file layout. Mixes are a form of data layer between I/O and recorded audio/MIDI. If changing mixes changed your I/O, chaos would ensue very quickly.

The chunk method is much faster than it sounds. It takes me just seconds to do this. In fact, I don't use templates. I use chunks with layouts I've created previously. I just keep duplicating them and reusing them, altering them as needed.

If I'm going to do an album of 15 songs, all recorded in about the same way with very similar mixing techniques on each one, I start with one chunk that I get set up with the basic I/O routing, plugins, instruments, etc., then I create a few blank mixes, adding a few basic plugins to them. For playback, I'll include a reverb (even if it's a temporary place-holder), a brick wall limiter, an EQ, compressor, or whatever is needed. Then I set up a recording mix with, say, a reverb for the artists to hear while recording. When these basic things are set up, I duplicate the sequence, erase all the data in the new copy, then I duplicate it 13 more times. After duplicating two, I select them both, and duplicate those sequences. Then I select all four, and duplicate those. Do this again, and I've got 16 or 17 sequences ready to record, each with its own plugins, mixes, etc.

As an alternative to including plugins in each one, you can put plugins on Aux tracks and load those into a V-Rack. Now, your sequences will include routing that goes to the V-Rack and returns. All sequences can use that V-Rack. Sometimes this is a valid way of working for me. Other times, I'm going to want to set those plugins differently for each song. For a fast, staccato song, I'm going to want to shorten that reverb tail. For a long, languid ballad, I may want more reverb. Compressors and limiters will probably differ, too. So, the plugins in a V-Rack may not be the way to go if you need to customize each song's plugins. Still, there are often things you can do with V-Racks that don't occur to you at first. For example, you can set up something in a V-Rack, then drag-&-drop it into each sequence to copy those tracks into the sequence.

There are many, many possible workflows in DP. I would be doing you a disservice by trying to describe even a few of them, for you're going to want to learn all the ways of working, then create your own workflows which are combinations of many possible directions to go.

You won't find a menu or command or feature for most of these methods. They are created by combining many existing features. There is a way to do almost anything in DP, and more often than not, there are many ways to do any given task. It takes practice and learning to get there. Read the manual(s). You can look up most things in the PDF manuals. Some things simply go beyond manuals. They are techniques developed by individual musicians/engineers like me. I've shared with you decades of learning, already. I do this willingly, because I like for people to get a head start in DP. But make no mistake about it, it took me decades to learn all this stuff, and I'm still learning. Things are still changing. The way I work this year may not resemble the way I worked in 2005, but the way I worked then was fast, efficient, and effective too. It's even faster, more efficient and effective now, because DP is a different app compared to 10 years ago. But certain things have remained constant all along. One of those things is a manual that's very useful. It could never be "complete," because we keep inventing new workflows all the time.

Study the manual, study the COMMANDS Window. (SHIFT-L) Create a dummy file to test new ideas.

Shoosh

[rockman413]

To do this, you would:

• Use the LOAD command (File Menu) to import the chunk whose I/O layout you want to copy.
• Select that chunk you just imported, and in the Chunks Window Mini-Menu, choose "Duplicate Track Layout."
• Open the other chunk, the one you want to change, and Select All. Copy the data. (COMMAND-C)
• Now open the duplicated track layout, and paste the data into it.
• You now have the data in a chunk with the I/O and Sends exactly like the one you wanted to emulate.

If you also need mixes and automation, the process is similar, but instead of duplicating the track layout, you duplicate the sequence. Prepare this newly copied sequence by deleting all MIDI and Audio data. Now copy in the MIDI and Audio data from the other sequence. This only works, of course, if the tracks are ordered identically in both chunks.

Somewhere else I remember reading your question as to whether you can change mixes and in doing so also change sends. At least, I think that's what you asked. No, mixes do not include I/O and Send settings. I/O and routing are fundamental to a file layout. Mixes are a form of data layer between I/O and recorded audio/MIDI. If changing mixes changed your I/O, chaos would ensue very quickly.

The chunk method is much faster than it sounds. It takes me just seconds to do this. In fact, I don't use templates. I use chunks with layouts I've created previously. I just keep duplicating them and reusing them, altering them as needed.

If I'm going to do an album of 15 songs, all recorded in about the same way with very similar mixing techniques on each one, I start with one chunk that I get set up with the basic I/O routing, plugins, instruments, etc., then I create a few blank mixes, adding a few basic plugins to them. For playback, I'll include a reverb (even if it's a temporary place-holder), a brick wall limiter, an EQ, compressor, or whatever is needed. Then I set up a recording mix with, say, a reverb for the artists to hear while recording. When these basic things are set up, I duplicate the sequence, erase all the data in the new copy, then I duplicate it 13 more times. After duplicating two, I select them both, and duplicate those sequences. Then I select all four, and duplicate those. Do this again, and I've got 16 or 17 sequences ready to record, each with its own plugins, mixes, etc.

As an alternative to including plugins in each one, you can put plugins on Aux tracks and load those into a V-Rack. Now, your sequences will include routing that goes to the V-Rack and returns. All sequences can use that V-Rack. Sometimes this is a valid way of working for me. Other times, I'm going to want to set those plugins differently for each song. For a fast, staccato song, I'm going to want to shorten that reverb tail. For a long, languid ballad, I may want more reverb. Compressors and limiters will probably differ, too. So, the plugins in a V-Rack may not be the way to go if you need to customize each song's plugins. Still, there are often things you can do with V-Racks that don't occur to you at first. For example, you can set up something in a V-Rack, then drag-&-drop it into each sequence to copy those tracks into the sequence.

There are many, many possible workflows in DP. I would be doing you a disservice by trying to describe even a few of them, for you're going to want to learn all the ways of working, then create your own workflows which are combinations of many possible directions to go.

You won't find a menu or command or feature for most of these methods. They are created by combining many existing features. There is a way to do almost anything in DP, and more often than not, there are many ways to do any given task. It takes practice and learning to get there. Read the manual(s). You can look up most things in the PDF manuals. Some things simply go beyond manuals. They are techniques developed by individual musicians/engineers like me. I've shared with you decades of learning, already. I do this willingly, because I like for people to get a head start in DP. But make no mistake about it, it took me decades to learn all this stuff, and I'm still learning. Things are still changing. The way I work this year may not resemble the way I worked in 2005, but the way I worked then was fast, efficient, and effective too. It's even faster, more efficient and effective now, because DP is a different app compared to 10 years ago. But certain things have remained constant all along. One of those things is a manual that's very useful. It could never be "complete," because we keep inventing new workflows all the time.

Study the manual, study the COMMANDS Window. (SHIFT-L) Create a dummy file to test new ideas.

Shoosh

Thanks for the detailed explaination. It is very helpful. I got the idea of chunks, but it requires the 2 chunks to be exact the same. If they are not that the same, problems /bugs could occur. And everybody has his own way to use DP as Dp is quite flexible as I can see.

[doodles]

Shooshie, you are some guy. An innocent question and you ALWAYS go to some lengths to help people out.

Sending good karma your way...