PT8 Audio Comping

[edemunari]

Just a one thing i never understand.
Is there a way to make protools playing the master playlist till the end of the already comped regions and then start playing the alternate playlist soloed?

I mean i'd like to hear the comped track until the end in order to understand how it merges with the soloed playlist, hearing just only the soled playlist from the beginning only is a little bit messing... isn't it? Do I lost something? any help really appreciated...

thanks in advance
Eriberto

[Rail Jon Rogut]

No... Don't get me started!!!!

Makes the comping feature unusable for me.

Rail

[Kenny Gioia]

They should have made it using a voice stealing method.

If there's nothing on the main track, then the solo'd track plays.

If there is something on the track, then the track plays instead and ignores the solo. This would require extra voices but most of us can afford those.

I describe a pretty good work-around in my PT8 videos but it's still a work-around and you are a slave to the playback buffer.

BTW - They shouldn't have named it solo either.

[Rail Jon Rogut]

... which would have made it an HD (TDM) only feature... which would have been better IMNSHO.

Rail

[KingFish]

Originally Posted by Rail Jon Rogut

... which would have made it an HD (TDM) only feature... which would have been better IMNSHO.

Rail

+1 for me and +1000 for all the people I've met.

You know, after all this "Amazing Advancement" in PT8, the Playlist view... I'm still using Dynamic Voice stealing to comp vocals.

As Rail Said ... Keep it the Way it is for LE, but for TDM implement a "Single Voice Mode" and nevermind with the Solo Buttons (They're not linked to selection anyway, making the whole process sloppy)

Sooo close, but No cigar.

[Giles Reaves]

Originally Posted by edemunari

Just a one thing i never understand.
Is there a way to make protools playing the master playlist till the end of the already comped regions and then start playing the alternate playlist soloed?

I mean i'd like to hear the comped track until the end in order to understand how it merges with the soloed playlist, hearing just only the soled playlist from the beginning only is a little bit messing... isn't it? Do I lost something? any help really appreciated...

thanks in advance
Eriberto

How much "pre roll" of the master playlist are you talking about, and do you use this pre roll while listening to every alt take? I've never worked this way, I just listen to the choices and paste the best one in. (I can usually hold the last comp'ed line in my head for comparison) Then maybe if I'm a tiny bit concerned, I'll rewind a bit and listen to the comp with the latest lines added to make sure it flows. 99% of the time the comp works, so it would actually slow me down to listen to any of the "already comp'ed" lines each time before auditioning the next set of lines. The faster I can move through a comp, the better it seems to flow.

But to answer your question, if I DID need to work this way I'd just bump each take of the vocal up into the master and listen - wouldn't add much to the workflow, unless I'm totally misunderstanding things. ;-)

[Yaro]

I just wish Digi had copied what Apple did within Logic Pro - their audio editing may be inferior, but the comping method is ingenious...

[Kenny Gioia]

Originally Posted by Giles Reaves

so it would actually slow me down to listen to any of the "already comp'ed" lines each time before auditioning the next set of lines.

Our improvement wouldn't slow you down at all. Unless you suddenly wanted to listen to more.

There really can't be an argument for preferring to hear takes "out of context". Am I wrong?

I can't tell you how many vocal lines I thought were garbage until I heard them being preceded by a great one from a different track.

[Rail Jon Rogut]

Every great producer I've worked with (and I've worked with a lot) - always listens to their comp choices in context! They may use their comp notes for rough sketches, but it's impossible to know if something works without hearing it in context. Voice stealing lets one do multiple choice/switches in a single phrase.. and this comp method relies on the undo buffer for testing options which is a kludge and very limiting.

I stick to using voice stealing.. but when comping grouped drums that becomes difficult and I end up using stealing and playlists and the undo buffer... a pain in the behind.

They could have got this really right - they were very close....

Rail

[Dizzi45Z]

Originally Posted by Rail Jon Rogut

Every great producer I've worked with (and I've worked with a lot) - always listens to their comp choices in context! They may use their comp notes for rough sketches, but it's impossible to know if something works without hearing it in context. Voice stealing lets one do multiple choice/switches in a single phrase.. and this comp method relies on the undo buffer for testing options which is a kludge and very limiting.

I stick to using voice stealing.. but when comping grouped drums that becomes difficult and I end up using stealing and playlists and the undo buffer... a pain in the behind.

They could have got this really right - they were very close....

Rail

There is still hope for improvement. I actually work the way that Giles works and I have enjoyed the new comping view, but I can't argue that the option you are all asking for would be very, very nice.