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I've seen people use Live in so many different ways. That's one of my favourite things about it, it allows you approach things in new ways. I used to use session view mainly when I started out with it, but these days I use the arrangement window more. It really depends on what I'm trying to achieve. I've found the session view useful for a number of things, ...
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When working on documentary's, I like all of the interview dialogue staggered across 6-10 Dialogue tracks. I'll add a few extra b-roll tracks for footage containing dialogue happening under an interview. The interview / b-roll with any dialogue is printed into my Dialogue Stem.
I create a few Production FX tracks for any b-roll or nat sound without dialogue....
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I think you need to look at the universe of possible solutions, try some of them out, and observe how they impact your work. Then decide which solution is the most effective solution for you.
Some possibilities for you to try:
Create a giant project with all your samples and all your FX chains. Does this get unwieldy? Is it easy to find your way around?
...
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Good question, I'm interested to hear how others chime in on this.
First off, I almost always have a build session and a stem session. The build is what I edit/create in, the stem is what I deliver to the stage for mix (a tidied-up build session). I'll talk with the super/mixer before I deliver in order to know just how much unwinding he/she would like to ...
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"i'm afraid i could confuse a low amplitude region with an empty one"
Hiya, if you delete the "Audio Files" folder after spotting all offline clips will be greyed out. The recordings have a colour, so you will easily be able to tell what's a spot clip and what's a recording.
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The way i work usually is that i open the OMF in a new session based on the template in pro tools. I separate and clean the OMF like sending all you sfx to your template sfx tracks or taking two mono tracks of the same thing and putting them on a stereo track etc... Afterwards i delete all unused tracks and i do a "save copy in" and rename the project ...
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"What do you expect from the picture editor?"
At the mix I always expect, "Can we hear what's in my OMF? I like what WE did."
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My signal flow varies, but i follow this flow for most large mixes, it not only makes it digestible to combine 100's of sounds into a few minutes, but it saves cpu power.
audio track >
it's stem (aux) >
stem master fader >
stem track > (print this, and disable all above tracks, you can go back to the later if need be)
printed stems stem track* >
Master ...
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There is no difference between both, it's just a way of working. I do both.
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So you open a pre built template first and then import the omf.
That's the way I would do it but I have seen a few on line tutorials open the omf first and then import the template. I was just wondering is there any advantage in doing it that way.
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Using an aux track would require you to re-route the audio of each track involved into the aux, and recording automation on the aux track wouldn't affect the automation of the sub-tracks. The VCA is purely a control- and automation-based system, meaning 2 things:
Assigning tracks to a VCA has no bering whatsoever on their audio input/output routing. In pro ...
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We did a whole tonebenders episode on this topic with Paul Virostek.
I personally edit what I need, backup the originals and then never think of them again. Dustin keeps all of it and I have no idea how he goes back through the source recordings.
I find soundminer to be a huge asset for this kind of thing, because it lets me tag the files as I see fit and ...
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I'd be more inclined to remove the white noise from the speech than try add it back in the silence.
There are some very good paid plugins that can do it - personally I use a lot of the Waves plugs, X-Noise etc - but there are freeware alternatives.
Noise Reduction is one that Google turned up. Untested but for free you can try it & see if it's any good ...
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What is best to do if you record something specific is also record the room 'silent', so than you get the environment sound of the subject your recording. Add these layers together and you'll get your 'white noise' in a less artificial way.
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First of all it requires 'Experience' !
Second of all take some break and listen to the stuff after a day or two and use different kind of headphones to judge your sound design. Also sitting not too close to the monitors helps a lot.
But still you have to listen to people's opinions, we often miss things here and there or we just over do.
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If it is all one band doing one contiguous concert, I wouldn’t want to break that up into 16 projects, because you will likely want to treat each channel in basically the same way. It likely really is just one drum recording, one guitar recording, and so on, even though it is many songs. If you split it up, the things you do to the drum track, you might have ...
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I do this all the time. Position the playhead at a convenient/natural point between songs, select all the regions, and "Split Region(s)". At this point you will have a "song" and "the rest of the audio". Place a marker on the first set of regions. Make the song work. When you are satisfied create a new "Alternative" and move to the next song (position ...
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The Session View makes most sense when you are using a dedicated controller like the Push in order to trigger scenes.
Check out
to see someone using a Push controller to build up individual clips, arrange them in scenes, and then play through the scenes.
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I suggest a spotting session with the client before you cut anything. Sit down and go through the material with pen and paper in hand. Other than that, clients really do change their mind a lot.
Having no supervising sound editor is not unusual in low budget features. But in your case if the bureaucracy is keeping you from getting in touch directly with the ...
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I have a "to edit" folder on my hd where i copy all raw files if i don´t have the time to edit them right away, which is the common situation. When i find the time, i edit the single sounds, clean them up with RX, change gain(if needed) and write metadata into them (twisted wave). After that i rename them and save them into the dedicated folders and import ...
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This is an area I'm also keen on exploring, particularly with respect to synthesizer-based sound design. Most traditional controllers are performance interfaces, rather than interfaces for the actual design of sounds. Clearly design and performance are linked as any sound that is designed is going to require performance at some point, even if this is only ...
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My design controllers lately have been:
My midi keyboard controlling Structure, a sampler plug-in
My Wacom tablet (as a mouse) to control the x/y parameters of GRM Tools
I've found this setup very useful (and fun) to perform motors, vehicles, whooshes/swishes, vocal processing, weapon movement, and such.
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I do use physical controllers for designing sounds. I use Pro Tools for my work environment, and Pro Tools is very bad at allowing out of the ordinary controllers to interact in meaningful ways with the main DAW features. A MIDI controller, usually a keyboard, is good for controlling plug-in instruments like a sampler for great expressive use of pressure, ...
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I have turned down projects in the past but I now very rarely do that (unless it's a project not worth doing, that is). I've found that it's much better to have a couple of sound editors that you can trust to ship on extra workloads too, if necessary. Plus, it's often great experience for younger sound guys. They do the groundwork and I can qc and final mix ...
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Besides the day job at the studio, I generally have between 2 and 5 projects going on simultaneously. But they're not all big projects. Right now I have three stage shows going on, with staggered openings between October and April. Those are the big projects. Besides that I have to prep an M&E mix for an indie feature, put together a couple of sound ...
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