No diss on your vid or PT here but Logic's system of doing this is so much better! No need to click anything to do a new take, nothing disappears, and the last take is stacked at the top which is usually the best take. The comps also auto crossfade between each other. It's so much faster than this. I've been using the Logic system on professional voice work for years now. PS it's still not perfect in Logic but I think it's better than PT's system.
Check the open playlists view. When you create a playlist, it moves the previous take down the playlists and crates an empty space on the track for your new take. This is shown and explained at about 1:55. You need to change from WAVEFORM view to PLAYLIST view to see your list of playlists.
@@bigiainsmusictechnologycha7704 I think the problem is you verbally said "backspace" but the character you show on screen is a backslash, pressing backspace does apparently delete the audio. Whilst for me, pressing ctrl+backslash does absolutely nothing and now I'm probably 3 or 4 inconsistencies and frustation points away from cancelling my subscription to this and going back to Adobe Audition. If feels very much too elitist and not for beginners. edit - I'm absolutely baffled and losing the will to live with this, I just looked in the shortcuts and New Playlist is START+#, in what world can it be that different in my software. Whatever reason it has for ending up that different, this is how software loses people.
I do have a question about this, which is really great. So I recorded a number of takes of a band but I put those takes one after the other. Is there any way to move, say, the second and third takes into this system you demonstrated to do selections of the best parts of each take?
Hi Steve, You can create empty playlists and drag the waveforms (audio files) from the takes after the first into the empty playlists. It takes time and patience, but can be done. Make sure that you take the same take (ie ALL your take 2's) into the 2nd playlist and all your take 3's into the 3rd or you might get some interesting phase and timing issues. This is all only going to work for you if each take was taken with a click track so you can align things nice and easily. If they were all not synced to the internal clock, you're opening up a whole new world of pain to try and then edit using the playlist/promote system. best of luck!
@@bigiainsmusictechnologycha7704 thanks for your response. Regretfully I wasn't sure how to use a click track and the band hadn't played to one in the past. So there isn't a click track.
@@stevegeorge7773 Thats a shame! In that case its probably not worth even attempting unless the drummer was (literally) a machine! Normal comping of say a vocal track, would be from takes recorded using playlist record over a backing track that is all but complete, so theres no issue trying to simultaneously trying to comp all of the other instruments.
@@bigiainsmusictechnologycha7704 ok. 😩. I’ll have to think of another way. Shifting across the time line from one song take to another isn’t very efficient and very logical to getting a final from all the takes.
@@stevegeorge7773 Theres a good video on here about using click tracks! While I'm totally with the school of thought that says they can be a bit stifling to feel, in honesty if you want to work with multiple takes of the same song, they're kind of necessary. It can be done without, but the messing around with elastic audio and slip edit mode would be beyond a nightmare. When I'm recording live band takes, I always (these days) set up a click and tell the drummer to let it play for 2 bars then give a count in of 2 bars then play to the click. After the first take, I create a new playlist and make sure they follow the same protocol, and again for a 3rd take - I like to get at least 3 takes of a song that can then be edited into a final take and have done more if its taken the band a while to settle into feel etc, but theres definitely a limit at which point everyone gets sullied by the process! Then I have 3 (minimum) in-sync takes to build from. If I were to take a few bars of drums from say take 2, I'd be careful to take ALL the drum tracks though. Mixing and matching a snare from take 1 and take 3 would again present a series of issues that would be a potential nightmare. In honesty, I've only ever done that about once. I'm a bit old school and at the very least like to have a drum track that is one continuous take. I rarely comp multi channel stuff.
No diss on your vid or PT here but Logic's system of doing this is so much better! No need to click anything to do a new take, nothing disappears, and the last take is stacked at the top which is usually the best take. The comps also auto crossfade between each other. It's so much faster than this. I've been using the Logic system on professional voice work for years now. PS it's still not perfect in Logic but I think it's better than PT's system.
Thank you!!
Seems like theres a curse in pro tools, non of the tips i see on youtube works
I press controll and backspace and the audio just disappears and no playlist is created
Check the open playlists view. When you create a playlist, it moves the previous take down the playlists and crates an empty space on the track for your new take. This is shown and explained at about 1:55. You need to change from WAVEFORM view to PLAYLIST view to see your list of playlists.
@@bigiainsmusictechnologycha7704 I think the problem is you verbally said "backspace" but the character you show on screen is a backslash, pressing backspace does apparently delete the audio. Whilst for me, pressing ctrl+backslash does absolutely nothing and now I'm probably 3 or 4 inconsistencies and frustation points away from cancelling my subscription to this and going back to Adobe Audition. If feels very much too elitist and not for beginners.
edit - I'm absolutely baffled and losing the will to live with this, I just looked in the shortcuts and New Playlist is START+#, in what world can it be that different in my software. Whatever reason it has for ending up that different, this is how software loses people.
Its control + \ (backslash), not backspace
I do have a question about this, which is really great. So I recorded a number of takes of a band but I put those takes one after the other. Is there any way to move, say, the second and third takes into this system you demonstrated to do selections of the best parts of each take?
Hi Steve, You can create empty playlists and drag the waveforms (audio files) from the takes after the first into the empty playlists. It takes time and patience, but can be done. Make sure that you take the same take (ie ALL your take 2's) into the 2nd playlist and all your take 3's into the 3rd or you might get some interesting phase and timing issues. This is all only going to work for you if each take was taken with a click track so you can align things nice and easily. If they were all not synced to the internal clock, you're opening up a whole new world of pain to try and then edit using the playlist/promote system. best of luck!
@@bigiainsmusictechnologycha7704 thanks for your response. Regretfully I wasn't sure how to use a click track and the band hadn't played to one in the past. So there isn't a click track.
@@stevegeorge7773 Thats a shame! In that case its probably not worth even attempting unless the drummer was (literally) a machine! Normal comping of say a vocal track, would be from takes recorded using playlist record over a backing track that is all but complete, so theres no issue trying to simultaneously trying to comp all of the other instruments.
@@bigiainsmusictechnologycha7704 ok. 😩. I’ll have to think of another way. Shifting across the time line from one song take to another isn’t very efficient and very logical to getting a final from all the takes.
@@stevegeorge7773 Theres a good video on here about using click tracks! While I'm totally with the school of thought that says they can be a bit stifling to feel, in honesty if you want to work with multiple takes of the same song, they're kind of necessary. It can be done without, but the messing around with elastic audio and slip edit mode would be beyond a nightmare.
When I'm recording live band takes, I always (these days) set up a click and tell the drummer to let it play for 2 bars then give a count in of 2 bars then play to the click. After the first take, I create a new playlist and make sure they follow the same protocol, and again for a 3rd take - I like to get at least 3 takes of a song that can then be edited into a final take and have done more if its taken the band a while to settle into feel etc, but theres definitely a limit at which point everyone gets sullied by the process!
Then I have 3 (minimum) in-sync takes to build from. If I were to take a few bars of drums from say take 2, I'd be careful to take ALL the drum tracks though. Mixing and matching a snare from take 1 and take 3 would again present a series of issues that would be a potential nightmare. In honesty, I've only ever done that about once. I'm a bit old school and at the very least like to have a drum track that is one continuous take. I rarely comp multi channel stuff.