I'm taking my first step into the sound-effecty/not-necessarily-just-straight-music world and I can't figure out a sensible way to organize everything.
It certainly doesn't make sense to have a separate track for each sound/event (some of which are less than a second long), but consolidating several events on one track seems like a recipe for losing sight of everything.
Does anyone have any sort of tried and true awesome approach to keeping everything sorted and accessible while maximizing CPU usage?
Thanks!
Sound Design Project Organization
Moderator: James Steele
Forum rules
This forum is for discussion related to the use of Digital Perfomer in the context of television and film scoring and post-production.
This forum is for discussion related to the use of Digital Perfomer in the context of television and film scoring and post-production.
Sound Design Project Organization
MacBook Pro 2.5 GHz Quad-Core Intel i7/16GB, OSX 10.14.6, DP 10.1, MOTU 896mk3
- MIDI Life Crisis
- Posts: 26254
- Joined: Wed May 18, 2005 10:01 pm
- Primary DAW OS: MacOS
- Contact:
Re: Sound Design Project Organization
Well, it all depends on the density: simultaneous sounds - including dialogue and music playing at once . Generally we work with 20 minute "reels" and as such, a track for every sound is manageable. You might conserve tracks by keeping similar sounds on the same track, but run the risk of having to apply plugs as opposed to inserting them in a track - which of course, gives you more flexibility in changing things as people change their minds or have suggestions to try.
I don't think track count in general is an issue per se and if you buss things to aux and master tracks, you can save some CPU on inserts by sending different tracks to the same buss. In general, I'd go with separate tracks for most cues and keep very similar sounds in one track if you are worried about overhead, but track counts in and of themselves aren't usually much of an issue, IMO.
I don't think track count in general is an issue per se and if you buss things to aux and master tracks, you can save some CPU on inserts by sending different tracks to the same buss. In general, I'd go with separate tracks for most cues and keep very similar sounds in one track if you are worried about overhead, but track counts in and of themselves aren't usually much of an issue, IMO.
Re: Sound Design Project Organization
I appreciate your thoughts.
I was worried that there was maybe a time-tested, streamlined process that didn't occur to me. All in all it seems like I'm on the right "track."*
*Oof.
I was worried that there was maybe a time-tested, streamlined process that didn't occur to me. All in all it seems like I'm on the right "track."*
*Oof.
MacBook Pro 2.5 GHz Quad-Core Intel i7/16GB, OSX 10.14.6, DP 10.1, MOTU 896mk3
Re: Sound Design Project Organization
i tend to use track folders and a template -
very handy to have same track layout if u have 5 reels and they recut and stuff goes from one reel to the other.
my folders ( and each has a bus master sub mix fader)
dialog language A
dialog languageB
music
foley
mono SFX
Stereo SFX ( some are preset "sharp" as in panned hard center
Ambience - mix of mono and stereo -sharp and diffuse settings
very handy to have same track layout if u have 5 reels and they recut and stuff goes from one reel to the other.
my folders ( and each has a bus master sub mix fader)
dialog language A
dialog languageB
music
foley
mono SFX
Stereo SFX ( some are preset "sharp" as in panned hard center
Ambience - mix of mono and stereo -sharp and diffuse settings
macpro 3 gig - 5 Gig RAM 10.6.3 Motu 2408 mk 2 Mackie HUI DP 7.21 intel imac 3 gig ram traveller OS 10.6.3
http://www.fork-media.com
http://www.fork-media.com