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Hi there,
Everyone, let's share your experience/ tips of using chunks.

Chunks are a one important feature of DP, but I always met this problem, how are you guys dealing with it?

So when I write for film, there're m1 ,m2....m50. Normally I create individual project files for m1, m2,m3.
One day I put more than one cue in the same project, so I have more than one chunks in one project files. Then a few days later, I don't know where did I stored those cues in which project files, as I can't see which cues are in the chunks of which project file, and I can't afford to open all the project files to find where is that cue/chunk?

It's a good question. I don't have a good answer. It does seem like being about to search (and even use Apples search function) for chunks would be useful.

I tried using the load function (File Menu/Load...), but when you cancel, it doesn't back you up to the file navigator, it complete cancels the load. So that's out.

I never really understood why people have had "problems" with chunks - which is generally another word for "sequence" unless you're talking about v-racks, which DP treats as a VI chunk you can access from all other chunks and not have to wait for the VI to load again.

I come from using Editrack and SMPTETrack on an Atari as well as from Studio Vision Pro on a Mac and they work exactly the same way.

If I am working on a project (film. TV show, theater piece, album, dance piece, magic show, multi-movement concert work, etc.) I have ONE project with as many sequences (chunks) as required. The only exception is when a film comes in as reels, in which case I'll do a separate project for each reel and only then if I'm doing all the audio post work on top of doing the music.

Again, I've worked like that for years as has every other DP user I know personally (and there are a lot of them in LA).

I truly don't see the issue others have except to say that including sequences piecemeal (as described in the O/P) would drive me nuts.

DP was designed to work the way I described using it. If you are doing otherwise, I'm not surprised by your confusion. It's like parallel parking but turning off the car engine every time you make a maneuver. It makes no sense.

I understand those who are overly suspicious and want a separate project for each cue or segment of a work, but that is a personal preference and has nothing to do with any inherent problem with chunks.

What would help is a Chunks Folder (working like track folders do) - especially in project a with a lot of sections.

A blurred horizon shouldn't be blamed on the sky when it's the viewer's eye which is the issue. I suggest changing your Rx when working in DP and put all your chunks for a specific work into a single DP project, or not. Otherwise you'll never get the damn thing parked!

I agree. This does seem to be a problem caused by half-using the chunks feature.

If Chunks are used as intended, then you need only open the project related to that one film, and all the cues and versions are there. V-racks are kind of indispensable when working this way.

If you don't work with chunks, then your naming system is only how you name your projects, or DP files.

If you are in this in-between realm, you better take good notes-- so you know where you put things.

It would be time consuming to consolidate multiple projects into one project with multiple chunks, but it might be time well-spent if it saves time later.

Keep good backups, in case something goes pear shaped.

No matter how wonderful DP and computers in general are, I still keep a notebook and a pencil on the desk. The little moleskin music notebook is handy for keeping notes about the project, and you can take it with you and jot down some music when it occurs to you.

Meanwhile you can open a DP project file in BBEdit (the basic version is now free and replaces TextWrangler). You should be able to open all of the sequences of interest, and then use Command-F to do a search and look for the name of the sequence you can't locate. Avoid doing any edits when you're in there.

bayswater wrote: Meanwhile you can open a DP project file in BBEdit (the basic version is now free and replaces TextWrangler). You should be able to open all of the sequences of interest, and then use Command-F to do a search and look for the name of the sequence you can't locate. Avoid doing any edits when you're in there.

Hmmm... that's kind of scary. So easy to screw things up. Might i suggest you do this on a copy of the project file...?

MIDI Life Crisis wrote:Hmmm... that's kind of scary. So easy to screw things up. Might i suggest you do this on a copy of the project file...?

Yes, that would be the safer option, but apparently there are many files -- or else one could just open up the one file and get on with it. And BBEdit is quite safe, like the old line editors. If you don't do any edits, and just quit when done, it's fine. Even if you do an edit, you just don't save it.

rockman413 wrote:Hi there,
Everyone, let's share your experience/ tips of using chunks.

Chunks are a one important feature of DP, but I always met this problem, how are you guys dealing with it?

So when I write for film, there're m1 ,m2....m50. Normally I create individual project files for m1, m2,m3.
One day I put more than one cue in the same project, so I have more than one chunks in one project files. Then a few days later, I don't know where did I stored those cues in which project files, as I can't see which cues are in the chunks of which project file, and I can't afford to open all the project files to find where is that cue/chunk?

As MIDI Life Crisis said, you might consider working in a different way. I'd probably put 50 cues in one project. I haven't had many projects over 30 chunks, but unless each is loading separate instruments, it doesn't present a problem. For instruments, use V-Racks, because all chunks can share the exact same setup. Route V-Rack outputs to Auxes ONLY if you need to automate those faders or pan. Most automation in VIs is done through MIDI rather than DP automation, so it's really just the tracks and their plugins that need it, so using an aux (or audio track), rather than going straight to Main Out from a VI, may be the best answer for that. The bottom line is that using VIs in V-Racks, rather than individual chunks, saves load time and tons of RAM.

Now... Once you have your cues in ONE PROJECT, each occupying ONE CHUNK, finding any cue is as simple as typing a bit of its name into the Search Field in the Chunks Window.

¡¡BAM!!

There it is.

I'm surprised that nobody has mentioned that. Or did I just skim the thread too fast and miss it? Or maybe they aren't using version 9.xx.

Shooshie

Shooshie wrote:

rockman413 wrote:I'm surprised that nobody has mentioned that. Or did I just skim the thread too fast and miss it? Or maybe they aren't using version 9.xx.

Shooshie

Maybe. The problem is the chunk of interest could be in any one of a number of projects. That's why I though it was a problem more of organization than anything else.

Oh, I knew that. I just wanted to explain how easy it can be if you do it the way most people use chunks in DP.

I thought your advice about using BB-Edit was probably the easiest way for him to go through them all and find the hidden file. That's what I'd do if I were in his shoes.

Shooshie

The problem with Chunks is that switching chunks doesn't switch all windows to the chosen chunk.

I switch from Seq-1 to Seq-2. Then I start adjusting a fader in the mixing board only to find that it is still set to Seq-1! This gotcha has made me chunkphobic. This seems like a major flaw in the whole Chunk scheme. Switching chunks should change EVERYTHING. No windows should stay set to the previous Chunk.

And what's with the whole "play enable" thing? I switch chunks but it's not playing the new Chunk! I have to do this extra "play enable" step. Seems like the whole thing could be a lot less confusing. Switching chunks should switch all windows and play enable the Chunk in one step. But it doesn't always work that way!

What is the best way to switch chunks and ensure all windows get switched to the new Chunk at once? Is this even possible?

Babz wrote:Switching chunks should switch all windows and play enable the Chunk in one step.

Do the chunk switching in the Chunks window. It changes the active chunk in all the edit windows and play enables the chunk you select, all in one click. Changing the active Chunk in the mini menu in the edit window only changes that window. (There's probably a reason you'd want that, but I can't think of one.)

bayswater wrote:Do the chunk switching in the Chunks window. It changes the active chunk in all the edit windows and play enables the chunk you select, all in one click.

Thanks. Um...
There are a couple of different ways to switch chunks in the Chunks Window.

So (I'm guessing), the best way is to click the little Play triangle (in the Chunks window) to switch the chunk there?

(It seems that you can also switch chunks by double-clicking on the chunks name. That switches the chunk, but does not play enable it. Doesn't seem to be any obvious reason why you would want that state of affairs, but ... All just to make it more confusing, I guess.)

bayswater wrote: Changing the active Chunk in the mini menu in the edit window only changes that window. (There's probably a reason you'd want that, but I can't think of one.)

I guess maybe you could have two SE window open in the Consolidated Window (each displaying a different chunk) and then cut and paste tracks between them? That seems one reason you might want to do that.

I find it harder to envision why you would want to switch chunks in the chunks window but not play enable the chunk to which you are switching.

Anyway, this is all why I was so chunkphobic for so many years. I do use them now, but cautiously. But if I can remember to only switch by double-clicking the play triangle in the Chunks window (?), hopefully I'll find it less confusing?

Babz wrote:So (I'm guessing), the best way is to click the little Play triangle (in the Chunks window) to switch the chunk there?

Right. Click on the Play Enable triangle to turn on the selected Sequence, and turn the others Sequences and Songs off (and leave the VRacks alone).

There's more useful stuff in the Key Commands window. ALT-F and ALT-B go to the next or previous Sequence. Even the names you assign to your Sequences appear in the Commands window, and you can assign Key Commands to them. With that, you don't even have to go to the Chunks window to switch to a different sequence.

You are only switching entire chunks when you click the play enable icon BESIDE the name of the chunk. Double clicking the name of the chunk seems to switch the chunk in the active window or something. This has been a point of contention for me for... I dunno... 30 years or something? Click the actual play-enable icon — or use the "Next Chunk" button at the top of the Chunks window, and the Consolidated Window and Mixing Board will switch chunks; perhaps a few others do also, but I don't want to take the time to think it through. I know that Edit windows outside the Consolidated Window will not switch. You have to open new ones or switch them manually. I usually have a separate Space for MIDI Edit windows, where I may have a window open for each MIDI Chunk. If that didn't make sense, don't worry; it would take a movie to show how I work.

For best results when switching chunks, keep most of the windows you're using rooted within the Consolidated Window. The Mixing Board will switch even when popped out of the CW. I keep the Mixing Board open as far as it will go, in its own space. When I return to it, it's always exactly where I left it. No surprises. No scrolling for tracks.

Tracks and Sequence are usually in the CW, as are "little windows" like Groups, Markers, Chunks, and others. When mixing, I put the Meter Bridge in its own space. People say "but I like to see the meter bridge, the Mixing Board, the Tracks Window, and the Sequence Editor all at the same time." Ok... just hit whatever shortcut your Mac has assigned to Mission Control: Application Windows. For me it's F2. Suddenly you're watching ALL those windows on the screen simultaneously, all still operating in real time. It's jaw-droppingly wonderful. You can see that yes, that fader jolt on the guitar track sent a spike through that bus that triggered clipping in 5 meters, and immediately see why: the attack on that note was huge! And it happens at Bar 88/3/248! All in once glance.

But we were talking about switching chunks, and yes, it turns out there is a right way and a wrong way to do it. Or... one way, and another way, perhaps. Click the chunk's Play Enable icon!

Shooshie

[edited: I originally said click the "chunk" icon. It's the play-enable icon, of course, beside the Chunk Icon. DP isn't open, and sometimes I say things the way I think of them, rather than what's actually there. Sorry!]