I'm not sure how source destination is any different from just highlighting regions of a clip in my DAW, copying each one, and pasting them in order in another track. It doesn't look any harder than what I see in Sequoia. Apply cross fades - all done.
I think it's more that the structure is there so that source and destination always remain clear and separated, and the number of steps is reduced to put together the comps; just think about very intensive drum editing or the classic example of classical editing in which e.g. a three-hour opera of 100 instruments, voice, choir with 150 mics might easily require 100,000 such 4-point edits. Every removal of a single keystroke or mouse movement of 1 second duration would save one three days' labor.
This is very helpful, but how do you initially set everything up? For instance, I have a few 6-track takes I want to edit from, so I need 6 tracks in source and 6 tracks in destination, with the ability to switch between whichever takes I'm pulling a segment from. How would I do that? Coming from Soundblade, Sequoia seems a lot more complex.
Besides having a mastering DAW, high quality outboard, converters, monitors, and acoustic treatment... What would one need to effectively get mixes that meet the commercial standard for loudness? I've been using pro tools and my mixes are loud, but my bounces are very quiet. People have told me that I need a mastering DAW because it's a "dynamics thing." Is this true? I enjoyed the videos and I would appreciate any advice you can offer.
Well... PT is top notch in both mixing and mastering... maybe you problem is that you are pushing the loudness too hard sacrificing the dynamics of the song. Loudness is cool but it's not all about it, dynamics are important as well. I can share some basic rules I know: - never normalize your mix and recordings - If you are around 12db of RMS (loudness) you are fine, you don't really need more - peak meter, spectrogram and spectrum analyser are damn important tools - the volume peak should have around 6/8 db of movement (depending on the genre of course... Im assuming we are talking about EDM) - less is more: if you feel the need to enhance some frequencies in mastering phase, try lowering the cumbersome frequencies first, you'll free some headroom to boost your dynamics too - A good multi-freq compressor is a good friend to have I love the iZotope OZONE suit for mastering purpose. You should check it out, they are in RTAS format too.
Thanks! I ended up buying Sequoia, and it fixed my problem. Now my bounces match the loudness of commercial tracks, using the same exact outboard chain, converters, and parameters as I was using in Pro Tools. I still do all editing and mixing in PT. REPLY
I'm not sure how source destination is any different from just highlighting regions of a clip in my DAW, copying each one, and pasting them in order in another track. It doesn't look any harder than what I see in Sequoia. Apply cross fades - all done.
I think it's more that the structure is there so that source and destination always remain clear and separated, and the number of steps is reduced to put together the comps; just think about very intensive drum editing or the classic example of classical editing in which e.g. a three-hour opera of 100 instruments, voice, choir with 150 mics might easily require 100,000 such 4-point edits. Every removal of a single keystroke or mouse movement of 1 second duration would save one three days' labor.
This is very helpful, but how do you initially set everything up? For instance, I have a few 6-track takes I want to edit from, so I need 6 tracks in source and 6 tracks in destination, with the ability to switch between whichever takes I'm pulling a segment from. How would I do that? Coming from Soundblade, Sequoia seems a lot more complex.
Besides having a mastering DAW, high quality outboard, converters, monitors, and acoustic treatment... What would one need to effectively get mixes that meet the commercial standard for loudness? I've been using pro tools and my mixes are loud, but my bounces are very quiet. People have told me that I need a mastering DAW because it's a "dynamics thing." Is this true? I enjoyed the videos and I would appreciate any advice you can offer.
Well... PT is top notch in both mixing and mastering... maybe you problem is that you are pushing the loudness too hard sacrificing the dynamics of the song.
Loudness is cool but it's not all about it, dynamics are important as well.
I can share some basic rules I know:
- never normalize your mix and recordings
- If you are around 12db of RMS (loudness) you are fine, you don't really need more
- peak meter, spectrogram and spectrum analyser are damn important tools
- the volume peak should have around 6/8 db of movement (depending on the genre of course... Im assuming we are talking about EDM)
- less is more: if you feel the need to enhance some frequencies in mastering phase, try lowering the cumbersome frequencies first, you'll free some headroom to boost your dynamics too
- A good multi-freq compressor is a good friend to have
I love the iZotope OZONE suit for mastering purpose. You should check it out, they are in RTAS format too.
Thanks! I ended up buying Sequoia, and it fixed my problem. Now my bounces match the loudness of commercial tracks, using the same exact outboard chain, converters, and parameters as I was using in Pro Tools. I still do all editing and mixing in PT.
REPLY
No problem! So you confirm SQ be better than PT in mastering? (I'm asking because I never used PT)
Valvola good ? so pt for mixing sequoia for mastering