managing multiple takes in ProTools

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can any suggest an efficient method for keeping audio files organized
when recording multiple takes using quickpunch and/or automatic punch-in?

do you just record over what have previously or do you create a new
playlist for the track?

any suggestions would be greatly appreciated.

 

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"H" <mshoganREMOVE@dal.caREMOVE> wrote in message news:O7UHe.121241$wr.96639@clgrps12...

> can any suggest an efficient method for keeping audio files organized
> when recording multiple takes using quickpunch and/or automatic punch-in?

TTBOMK, quick-punch starts recording the moment you hit play, and
only replaces the audio in the window with new audio after you hit
record and up until you hit play again... but it records audio until you
hit stop. (Don't ask)

It's sort of a convoluted naming scheme, but it's done for you. Just
look at your files window as you work and it will start to make sense.
Usually, it increments the numeric value of the named track by one,
each time you punch in on that track.

> do you just record over what have previously or do you create a new
> playlist for the track?

The old audio never goes away until you "Consolidate" your files. Even
though you punch in on top of a section of 'old' audio, the old audio remains
in your audio files folder until you consolidate.

This probably isn't much help, but I've just start tackling PT myself.


--
David Morgan (MAMS)
http/www.m-a-m-s DOT com
Morgan Audio Media Service
Dallas, Texas (214) 662-9901
_______________________________________
http/www.artisan-recordingstudio.com

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

Hi,
It's very seldom I would use quick punch. I prefer to set in and out
times, with pre and post roll. That way all the takes have the same
start time and can be listed in the regions window showing regions with
a similar start time. For overdub sessions I would usually open a few
tracks and group them all to the same aux input and just record a take
on one track and then move it to one of the empty tracks. If you label
the recording track the take numbers should be sequential.

I use playlists only when doing multi track work, using each play list
for each subsiquent take.

That said there are so many ways of using tools, everbody does it a bit
different.

Regards
DS

 

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Archived from groups: rec.audio.pro (More info?)

"studiorat" <daveslevin@02.ie> wrote in message...
>
> It's very seldom I would use quick punch. I prefer to set in and out
> times, with pre and post roll. That way all the takes have the same
> start time and can be listed in the regions window showing regions with
> a similar start time. For overdub sessions I would usually open a few
> tracks and group them all to the same aux input and just record a take
> on one track and then move it to one of the empty tracks. If you label
> the recording track the take numbers should be sequential.
>
> I use playlists only when doing multi track work, using each play list
> for each subsiquent take.
>
> That said there are so many ways of using tools, everbody does it a bit
> different.


Indeed. I use PT like a tape machine, and I can punch in and out, re-take
as necessary, and probably be done before in and out points could be
programmed. I then clean up the punch points (rarely necessary) and
as soon as possible, consolidate... eliminating unused audio regions.

I always 'undo' new audio if the punch didn't work, so nothing builds up
in the regions list. As to pre-roll... just drop the cursor where you want
to start and hit play. Yup... many approaches...

I still have yet to understand why a playlist is necessary, let alone used
one. I think one of the keys to PT (as with anything) is learning to make
decisions and cleaning up the folders at the end of every session. Just
don't keep a bunch of trash audio that you don't need. Consolidate and
then toss out any unsused audio.

As to overdubs... I have 32 ins and outs, so I don't need anything but a
one-to-one I/O setup and channel to track routing (if necessary) can be
done at the desk.

--
David Morgan (MAMS)
http/www.m-a-m-s DOT com
Morgan Audio Media Service
Dallas, Texas (214) 662-9901
_______________________________________
http/www.artisan-recordingstudio.com

 

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Archived from groups: rec.audio.pro (More info?)

"Matt" <customdigi@aol.com> wrote in message news:1123088020.551861.309240@g14g2000cwa.googlegroups.com...
> I worked for many years without even knowing that PT HAD a playlist
> function...a friend of mine recently hipped me to it, and I can't
> believe I ever comped a vocal without it. It is so much quicker to go
> through takes and comp together a good track using a playlist (or
> virtual track, or whatever you want to call it )


Obviously, I have much to learn about PT. I'm lucky enough to be
in an environment where mixing 'in the box' is not necessary at all.

If comping has been necessary, I've been comping vocals by picking
the keeper parts from the various tracks and pasting them together
on a single track. :-(

DM

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

<<If you have a generally good take but you need to just fix
a sentence or something, you can delete the line in your "comped"
track, leave the area selected, and then rapidly click through your
playlists to listen to only that line that you are looking for, and
when you find the best one, a quick copy and paste.
>>

I use a similar, but slightly different method for vocal
recording/comping:

-Name a new track "Vocal.01" and record a take
-Select "new take" in the popup menu of the same track, which will
create a blank take and automatically name it "Vocal.02" and record a
new pass
-Repeat step 2 for as many vocal takes as desired, which will all be
auto-numbered sequentially
-Create another new take on the same track and name it "Vocal Comp"
-After choosing a portion of a take as final, select it and copy it to
the clipboard. Leave the area selected.
-Switch to the comp take and hit paste. The segment will be perfectly
placed in the comp.
-Repeat until the comp is done

It eliminates the possiblility of accidentally moving a segment in
time, and one "select" operation covers both copy and paste. It also
leaves the original takes intact. Alternate comps can be made my
creating new takes called "Vocal Comp 2" etc., and pasting all or part
of the first comp into them in a similar manner.

What I like about the method is it's very fast, nearly mistake-proof,
and uses only one track's worth of screen real estate, making it easier
to access the other tracks in the mix.

Ted Spencer, NYC
www.tedspencerrecording.com

 

[Guest]

Archived from groups: rec.audio.pro (More info?)

"Matt" <customdigi@aol.com> wrote:
>
>
> It really isn't that much different than the way you are working now,
> but if your screen real estate is limited and you have a bunch of
> tracks going, each with a different take, things just tend to get
> cluttered and your session goes a bit slower



This is also has the benefit of not tying up output voices with stuff
you're not using. Let's say you've got five vox takes... that's five
tracks plus the comp. With a playlist, it's only two. In PTLE, where
the max is 32 tracks, that can become an issue on bigger sessions.
Admittedly you won't run out very often (somehow we managed to get by
with 16 or 24 in the tape days), but is has happened to me a couple
times on sessions with lots of stereo sources.

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

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