editing with trim limitations, help

[amoretam]

I am stucked here trying to time strecth to region start: I have multiple regions sliced by beat detective, slowed down tempo and now I want to close gaps with the time stretching tool.
Fill gaps with crossfades in beat detective introduces too many artifacts, I found the way I am trying to do it is a lot better.

I need something like when the region constrains (won't go beyond) when I press "Start" and trim it to another region.

Also, please tell me how the hell do I trim multiple regions at once in one track.

I hope I am clear , thanks a lot!!!

[amoretam]

hello anyone?

[daeron80]

Unfortunately, neither of those features exists in PT at present. There are requests for them on Ideascale. Just so you know, you're not the only person needing them.

Instead of using Beat Detective, what happens if you place the original track in Elastic Rhythmic mode before changing tempo? If that doesn't work for you, then you're probably already on the right track. Stretch one region at a time, a little further than you need, switch to the normal trim tool, trim the next region back a little, and crossfade. It's a lot of work, I know. But it might be the best available solution at present.

[amoretam]

Originally Posted by daeron80

Unfortunately, neither of those features exists in PT at present. There are requests for them on Ideascale. Just so you know, you're not the only person needing them.

Instead of using Beat Detective, what happens if you place the original track in Elastic Rhythmic mode before changing tempo? If that doesn't work for you, then you're probably already on the right track. Stretch one region at a time, a little further than you need, switch to the normal trim tool, trim the next region back a little, and crossfade. It's a lot of work, I know. But it might be the best available solution at present.

it doesn't stop impressing me how PT seems lacking such important and basic features, it totally kills it for me!!

well thanks a lot for your response..

[Bill@Avid]

Hi,

StewartFang if you have the tracks in grouped in an edit group you should have no problems making the same edits to any number of regions at once. I'm not sure if this is what your looking for but it sounds like what you want to do. Select the tracks you want to work on, hit Ctlr G and the group dialog should come up. Make sure that Edit or Mix/Edit are selected and any edit you make on a region in the group (like trimming) will happen to all of them.

amoretam, daeron80's work flow sounds like it may be better for you in the long run.

Hop this helps.

[Bill@Avid]

StewartFang,

I was responding to, "Can't understand why you can't perform any edit function on multiple regions.."

I think I get where you are coming from now. Trim (with the trim tool) happens at a place in time on the timeline. If you select a place to trim on a clip, on a track, that is in an edit group, or in a group of clips, the trim tool will act on all of the clips in the group at that place in time (up and down in the edit window). This includes clips separated by beat detective.

So for all the drum clips in the group trimming the head or tail on one clip in a location in time would affect them all the same way (up and down). It will not act on other clips on the same track to the left or right. You need to trim each point in time individually.

So with your drum clips or tracks grouped you could peel back the left side of the Kick, Snare, Toms, Cymbals, Room..all at once with one action and then trim the right side of the adjacent clips in one location all at once. You would still need to repeat this for each location in time. So you need to edit each location in time but not each clip at this location individually.

It sounds like you want this to happen in multiple places in time (left and right). Your correct that there is no way to do this. It is definitely something you should post in the idea scale. It's an interesting idea and I'm not sure how it would be applied to all of the different gaps between clips since theoretically they would be different and manually editing one gap's left and right margins would not translate to other the gaps between clips in other locations in time directly. Then we're back to calculating it automatically like Fill And Crossfade does.

I don't know if you have tried changing the value of the trigger pad in Beat Detective to see if it helps with preserving transients? This is what this feature does, extends the selection to preserve the attack.

If adjusting the trigger pad doesn't help elastic audio may get you better results on the program material you are working with. You can manipulate the warp markers on grouped tracks or regions and move events without worrying about healing separations.

Again I hope (not hop) this helps.

[daeron80]

I think you're exactly right, Stewart. It seems like such an obvious thing - something trivially easy for computers to do and useful in a wide variety of audio workflows. I suspect that the problem is that Pro Tools was the first real DAW, and it has always been built on the foundation of its first version, which seems to have been written just before modern object-oriented programming languages like C became common. Now this is just a blind guess but there have long been several things that PT doesn't do that are common in all other major DAWs, that from a programming perspective would be much more difficult to implement well if not coded using an OOP language, which have a modular structure by design. That makes me think PT is probably still resting on its original, apparently non-OOP code.

But there's hope. It will soon be necessary for Avid to make PT a 64-bit program. That will require rewriting it pretty much from the ground up, and it will almost certainly be written in a more modular, OOP-type language. In all likelihood, they're well into that process now. I think we can look forward next year or the year after to a whole slew of "new" features like simultaneous horizontal regions editing that all other DAWs have had for a decade.

[daeron80]

I believe the good sound is due more to their engineers having learned a huge amount about digital signal paths over the past 25 years. It's pretty much the same thing as good audio tracking technique, which in turn is a lot like good medicine: first, do no harm. Thankfully, proper paths can be easily maintained with any programming language.