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I was wondering who out there has come up with the best method of reviewing Multiple takes during the editing phase. Is there a simple way to view all the takes at once? I usually duplicate the track for as many takes as I have. For example, if there are 3 takes of a particular track; I make 2 duplicate tracks and then set each of the 3 to the different takes to see them all at once. I bet someone else has a better way though...

I kinda do what you do. I try to keep it organized along the way. I wish DP would allow you to view all the takes under each track. Then the duplicating thing would not be needed.
That would make life a lot easier.

I useta do it that way to, but have found an extrememly more efficient method that suits my needs.

I place all of my options in separate takes for the track in question. I then toggle between takes to make my choices. It's much easier and faster than play enabling and muting tracks. I also only work on small sections at a time.

I do the same thing, duplicating the track with all the takes. More often though, I'll record takes on seperate tracks to begin with. That way I'm ready to try a quick comp while we still have the singer in the booth.
For auditioning vocal takes, I like to Solo Exempt all the backing tracks I want to hear, then while in Solo mode, Option-Select the take I want to hear. This allows me to go from take to take quickly, without having to mute one, then unmute another.

ido the same thing...muting and unmuting was my old way and it takes TOO long.

if i have 9takes of vocals, i make another take and label it FINAL. Then i preview each line in each take and just ccopy and paste the usable one onto the FINAL take.

Amazing that many of us work the same way but with little personal twists that work for our individual styles. Here's mine...

I used to use Takes for tracking but It took too long to set things up after recording to a/b or see how parts sound together. So I

Record onto separate tracks for tracking and use the "Takes" for storage of good, alternate material after comping.

My personal twist is that I use a copy of the main sequence for tracking and comping vocals. This way I can add as many tracks as needed and delete instr tracks not needed for the vocal performer. Sometimes I'll just use a stereo mix from the original so all my attention is on the vocal. I know it can be done by hiding tracks in the main sequence- but the CPU load is lower this way and no clean up afterwards.

The final comp(s) is added back to the original sequence saving window space and preserving the comp process in another sequence. Maybe a hold over from showing my work on old math tests- the second sequence lets me review what I did and keeps the original performances without detracting from the main sequence.

On some projects there may be several comp sequences based on what needed work (guitar solos, chorus parts, brasses). My final mix sequence track count is much smaller than the actual number of tracks used, and thus easier to handle.

Chris

<small>[ July 17, 2005, 06:15 AM: Message edited by: Croyal ]</small>

I have been working with duplicate tracks, each showing a seperate take, for comping also. I'll have a comp track at the top of all the takes so I can drag selected regions there for the final. One variation I have used,is going through each take by itself first and splitting out the regions I definitely don't want to use. Then I use the "X" (mute) tool from the tool palette to mute the bad regions. I use the take with the most usable regions (the circled take) as a starting point and see from the other takes where I can grab pieces from. Saves auditioning every take when you need to find another piece.

I've been thinking of trying the method where you assign all takes to the same voice and delete the unwanted regions as you go through them. The top-most regions would then play without having to drag all the takes to the same track. Don'tknow if this would be a time-saver or not...

Originally posted by Croyal:
Amazing that many of us work the same way but with little person twists that work for our indiviual styles.

But I thought of 'em first!

Originally posted by Croyal:
I know it can be done by hiding tracks in the main sequence-

I did not know you could hide tracks in the sequence Editor???? can you hide tracks in DP???

r.

Can't hide tracks (in the Tracks window), but...
mute the ones you don't wish to hear then open the sequence editor and choose which to display. Some folks work in the the sequence editor exclusively for a PT type experience.

I posted this on the favorite tip thread:

Composite takes:
I do 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. This is a very important step because you want to do the selections on the time ruler instead of on the soundbites themselves, so tat the same selection is maintained as you switch takes.

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 control-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.

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 untly 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.

<small>[ July 17, 2005, 08:13 AM: Message edited by: musicarteca ]</small>

Originally posted by musicarteca:

1- On the sequence editor display only the track(s) that you want to comp. This is a very important step because you want to do the selections on the time ruler instead of on the soundbites themselves, so tat the same selection is maintained as you switch takes.

I don't get that one.
I find the selection to remain from take to take even when selected with the cursor in the soundbite (not just via the time ruler). What doesn't carry over is when a whole soundbite is highlighted (yellow).

<small>[ July 17, 2005, 02:17 PM: Message edited by: Tim ]</small>

Originally posted by Tim:

Originally posted by musicarteca:

1- On the sequence editor display only the track(s) that you want to comp. This is a very important step because you want to do the selections on the time ruler instead of on the soundbites themselves, so tat the same selection is maintained as you switch takes.

I don't get that one.
I find the selection to remain from take to take even when selected with the cursor in the soundbite (not just via the time ruler). What doesn't carry over is when a whole soundbite is highlighted (yellow).

Tim,
If you select a track, and indicate the starting and ending points of the selection in the selection tab, that selection will carry over to all the takes, but it will not if you double click inside a soundbite and drag or if you select the soundbite itself.

My point is this, lets say that you are comping a multitrack drum set, if you had displayed all the tracks in the SE, you would have to make the selection points and choose each drum track, vs the simplicity of only displaying the drum tracks and selecting on the time ruler. It would be faster, it seems to me, specially if the only thing that you have to do is click a marker.

There are many ways to make selections in DP, the idea is to make a selection that carries on to different takes, on the track(s) that you want to comp, and with the less quantity of steps possible. Choose the one that works best for you.

Originally posted by musicarteca:

Originally posted by Tim:

Originally posted by musicarteca:

1- On the sequence editor display only the track(s) that you want to comp. This is a very important step because you want to do the selections on the time ruler instead of on the soundbites themselves, so tat the same selection is maintained as you switch takes.

I don't get that one.
I find the selection to remain from take to take even when selected with the cursor in the soundbite (not just via the time ruler). What doesn't carry over is when a whole soundbite is highlighted (yellow).

Tim,
If you select a track, and indicate the starting and ending points of the selection in the selection tab, that selection will carry over to all the takes, but it will not if you double click inside a soundbite and drag or if you select the soundbite itself.

I get it.
You're double clicking to use the I-Beam tool. I usually stay in pointer mode and drag across the lower half of the soundbite to make a selection (then the pointer turns into a plus sign).
If the I-Beam tool is selected in the tool palette (or type 'I' twice) instead of dbl clicking on the soundbite, the selection wil stay from take to take (there'll be no instant audition though).

Originally posted by Tim:

If the I-Beam tool is selected in the tool palette (or type 'I' twice) instead of dbl clicking on the soundbite, the selection wil stay from take to take (there'll be no instant audition though).

Nor will you be able to select several (comping) tracks at the same time. That is why I proposed just clicking on a marker (with all the non-comping tracks hidden). I can't figure out a fastest way. Thanks for the double "i" thing, I hadn't tried that one before.