Does anybody know of a way to perform a "paste to a single track?" In other words, select multiple soundbites from several tracks, change the selection to an empty track, and paste all soundbites, with their relative positions, to that one track. No biggie, but it would speed along compositing, and it seems like I used to have that function in Logic...
Thanks much!
Matt
Paste to one track
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This forum is for seeking solutions to technical problems involving Digital Performer and/or plug-ins on MacOS, as well as feature requests, criticisms, comparison to other DAWs.
This forum is for seeking solutions to technical problems involving Digital Performer and/or plug-ins on MacOS, as well as feature requests, criticisms, comparison to other DAWs.
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musicarteca
- Posts: 705
- Joined: Fri Oct 15, 2004 10:01 pm
- Primary DAW OS: MacOS
- Location: Montreal
- Contact:
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musicarteca
- Posts: 705
- Joined: Fri Oct 15, 2004 10:01 pm
- Primary DAW OS: MacOS
- Location: Montreal
- Contact:
I am afraid that might not be the best way do composite tracks in DP. There are some other much more efficient ways to do it, you can read about it on the tips thread. Here is the one that I use. (copied from the tips thread)
Category: Mixing
Category: Editing
Category: Recording
Consolidating Composite Takes
Works in: Tracks Window
I comp takes very often and I find the following procedure to be very efficient and a fast way to work with, it favors working with several takes on one track instead of the usual "several takes expanded on several tracks" method.
1- On the sequence editor display only the track(s) that you want to comp.
2- Create a new empty take and name it Comp.
3- Divide the song with markers, and click on the first marker to select a region from that marker to the next, or select the region manually on the time ruler.
4- With the same region selected listen to every take. Use option-space bar to audition the selected region on each take and CONTROL-OPTION UP/DOWN ARROW to navigate through takes. Once you found the best one, copy it and paste it at the comp take.
[Editor's note: OPTION-SPACEBAR used to be CONTROL-SPACEBAR. It was changed because Spotlight in Tiger now uses CONTROL-SPACEBAR.]
5- Click the next marker and repeat the procedure for the next selected range.
6- Move the edges of the adjacent soundbites to fine tune the edit, and cross-fade at will. Soundbite's time integrity to the sequence is always maintained, so there is no need to move soundbites. (just their edges).
7- If you select a region that is OK, except for only one note, you can select that note from an different take (always in the time ruler), copy it and paste at the comp take.
8- Repeat until the end of the song.
I very much favor this procedure because:
1- It is very quick once you get use to it.
2- You let your ears be the guide instead of your eyes. Isn't it the way it is supposed to be?
3- It is the way to go if you want to comp several tracks at the same time, for example a multitrack drum set, or a complete band playing to a click track.
[Editor's Note: Combine the composite takes procedure with the "Play region within selection boundaries" tip above, for even faster workflow]
_________________
musicarteca
--------------------
Category: Mixing
Category: Editing
Category: Recording
Consolidating Composite Takes
Works in: Tracks Window
I comp takes very often and I find the following procedure to be very efficient and a fast way to work with, it favors working with several takes on one track instead of the usual "several takes expanded on several tracks" method.
1- On the sequence editor display only the track(s) that you want to comp.
2- Create a new empty take and name it Comp.
3- Divide the song with markers, and click on the first marker to select a region from that marker to the next, or select the region manually on the time ruler.
4- With the same region selected listen to every take. Use option-space bar to audition the selected region on each take and CONTROL-OPTION UP/DOWN ARROW to navigate through takes. Once you found the best one, copy it and paste it at the comp take.
[Editor's note: OPTION-SPACEBAR used to be CONTROL-SPACEBAR. It was changed because Spotlight in Tiger now uses CONTROL-SPACEBAR.]
5- Click the next marker and repeat the procedure for the next selected range.
6- Move the edges of the adjacent soundbites to fine tune the edit, and cross-fade at will. Soundbite's time integrity to the sequence is always maintained, so there is no need to move soundbites. (just their edges).
7- If you select a region that is OK, except for only one note, you can select that note from an different take (always in the time ruler), copy it and paste at the comp take.
8- Repeat until the end of the song.
I very much favor this procedure because:
1- It is very quick once you get use to it.
2- You let your ears be the guide instead of your eyes. Isn't it the way it is supposed to be?
3- It is the way to go if you want to comp several tracks at the same time, for example a multitrack drum set, or a complete band playing to a click track.
[Editor's Note: Combine the composite takes procedure with the "Play region within selection boundaries" tip above, for even faster workflow]
_________________
musicarteca
--------------------
Thanks for the advice; the use of markers is a really smart way to approach the task of auditioning, and one I had not thought of. My situation, though, was one where the singer and I had already made all the selections using a technique similar to what you describe (on a phrase-by-phrase level, so there are many edits in one song), and I just needed to go back and do the actual editing. It would be quicker not to have to split, copy, paste for every soundbite when there might be 40 or 50 edits in a song, but go straight though splitting, then select all and copy/paste in one step...sounds like it's not a possibility though. Great idea with the markers though - I'll definitely try that.
Best,
Matt
Best,
Matt