Yep, it´s workflow question time again, so: when you create a sound effect, are you saving a file for every sound you create? I am not talking about the finished soundfile but the file that is used to construct it. What do you do when you want to change a little parameter on that wonderful "bkrz"-sound - 4 months after you created it?
I like talking workflow !
Basically I'm just working on games lately. If the games not up and running (usually not) I request clients provide video captures is possible or sometimes just a creative brief for each game event or single sound. I name and organize audio content into meaningful groups based on the game content and use a database (Bento for mac) to correlate filenames with game events as they can often be abstracted. This saves me from trying to use one folder structure in the filesystem to describe the content. Generally I create a record for each event and for more complicated events I use several records. In those records I can track notes comments feedback revisions and link to files for quick preview's. Using Bento has been fantastic.
My main creative tool is now the KORE environment with with Komplete 6. KORE is a flexible vst host that comes with a dedicated hardware controller. KORE is assigned to stem out 4 stereo pairs into protools HD. Everything is built from templates so I always print the same kind of content to each pair in Protools (sfx1-2 synths3-4 pads5-6 foley7-8). I'm printing all the creative sampler filtering, basic eq and effects from KORE into these 4 pairs so I'm essentially pre-mixing in the KORE environment. Opening the protools session (see below) I can make basic changes from these stems or open up the KORE file and totally rework each original element. I'm finding a huge advantage in moving the creative work to the KORE platform on a second machine. I find working creatively inside KORE faster than ProTools where I would have to constantly be adding tracks, building mixer structure, instantiating effects blah blah KORE moves quicker and the routes more flexibly.
The ProTools sessions contain groups of sounds based on how the content has been identified and organized in the database. I often have 20 or so sounds in each session. I'm able to do this because the bulk of the creative work and pre-mixing is done externally in KORE on a second machine. IN the ProTools sessions I use markers to identify regions boundaries for mixing automation unique for each version. When I'm creating versions I always leave each previous version in place and create the next version farther down the timeline. When I say version I mean stuff I submit to the client. Organizing the protools session in this manner has saved me waiting for the TDM cards to reload mixer structures and plugins as I can listen to all the versions for each of the 20 or so sounds in one session. I realize this isn't a limitation in newer versions of protools but alas I'm still PPC ....
I'm always looking to improve my workflow. Lately I've been trying to speed up the KORE environment even more so I'm considering a larger controller like the mackie C4. I've mapped ADSR, Filters, EQ and Effects sends from inside the Kontakt sampler to my KORE hardware but paging is very klunky and what page you're on isn't always obvious. I'm also considering a much wider delivery to Protools for more discrete mixing control in HD but I'm stumped on how to hear automation changes to TDM eq's while these tracks are in input mode ... blah ..anyway
It would be great to trade sessions sometime with anyone who feels like they could offer some constructive feedback or were just interested in trading workflow ideas
I like to save a PT ses for every sfx scene or for each sfx itself and a sound pallet for the fx scene project session so then i can do save as for a sound effect and clean up the session after i make it.
I use Reaper, so all that processing is non-destructive, i.e. you can go back and fiddle all you want. Costs extra cycles since it's processing it in place, but that hasn't been a problem for me yet :-)