Weird way of punching in help...

[francois]

This is the way I do it

create a send for the headphone talent mix set pre faders on that track and all the one you want in his (her )headphone mix.
I do pre faders so i can solo any tracks while recording without affecting the headphone mix

every time you quick punch it should work as you want.

[Mixchump]

I usually work on two tracks.
I keep the record track nice and hot in the mix for the singer, and it's always in input.
I keep a track below where I drag all the keeper bits, and monitor it at a reasonable playback volume.
The biggest issue really, is that the singer needs A LOT of level while recording, but you don't need to blow their heads off doing a playback...
Yes, you have to do a bit of muting regions now and then, but when you're done, you can drag the finished comp track up to a new playlist on your record track.
Simple!

[crizdee]

Originally Posted by Mixchump

I usually work on two tracks.
I keep the record track nice and hot in the mix for the singer, and it's always in input.
I keep a track below where I drag all the keeper bits, and monitor it at a reasonable playback volume.
The biggest issue really, is that the singer needs A LOT of level while recording, but you don't need to blow their heads off doing a playback...
Yes, you have to do a bit of muting regions now and then, but when you're done, you can drag the finished comp track up to a new playlist on your record track.
Simple!

Hi,

Yes this is how most of us work but when constantly punching in, its no good as you have to constantly edit the playback track before you punch in! or manually mute the playback track when you punch in. all doable but not as convenient.


Chris

[Drew Mazurek]

How did this get done in the days of 2" 24 tracks and consoles?

That's how I roll most of the time. I train singers how to make records, it's part of the job.

[Micks_Mix]

Originally Posted by dmazurek

How did this get done in the days of 2" 24 tracks and consoles?

That's how I roll most of the time. I train singers how to make records, it's part of the job.

As I said above, the SSL consoles have the "super cue" feature (press both ready group and ready tape -> mixes group and tape signals when not in record mode). As soon as the multitrack switches to record mode (on punch in), the console mutes the tape return on the pre fader auxes, the singer will only hear the group signal. I don't know if there are other consoles that have this feature.

[Micks_Mix]

This would really be a great new PT feature!

[Drew Mazurek]

Originally Posted by Micks_Mix

As I said above, the SSL consoles have the "super cue" feature (press both ready group and ready tape -> mixes group and tape signals when not in record mode). As soon as the multitrack switches to record mode (on punch in), the console mutes the tape return on the pre fader auxes, the singer will only hear the group signal. I don't know if there are other consoles that have this feature.

Actually, SuperCue was active for the Cue Stereo send simply by pressing Pre on the send. Pressing both Ready Group and Ready Tape made it active for the Monitor mix as well. Used it all the time.

[Dizzi45Z]

Originally Posted by francois

This is the way I do it

create a send for the headphone talent mix set pre faders on that track and all the one you want in his (her )headphone mix.
I do pre faders so i can solo any tracks while recording without affecting the headphone mix

every time you quick punch it should work as you want.

I don't think I am following you on this.

Are you saying: On the vocal track, create a send that is pre fader that is routed to the headphone mix?

That doesn't seem like that would work. The vocalist would not hear their voice until you punch in with quick punch. Am I missing something?

[Mt.Everest]

Originally Posted by crizdee

Hi,

Yes this is how most of us work but when constantly punching in, its no good as you have to constantly edit the playback track before you punch in! or manually mute the playback track when you punch in. all doable but not as convenient.


Chris

Originally Posted by Mixchump

I usually work on two tracks.
I keep the record track nice and hot in the mix for the singer, and it's always in input.
I keep a track below where I drag all the keeper bits, and monitor it at a reasonable playback volume.
The biggest issue really, is that the singer needs A LOT of level while recording, but you don't need to blow their heads off doing a playback...
Yes, you have to do a bit of muting regions now and then, but when you're done, you can drag the finished comp track up to a new playlist on your record track.
Simple!

I sort of do the same thing for artists who work that way - (A PITA IMO, and while this method works, it is just plain annoying!)
Anyway:
I have BOTH tracks Rec Enabled.
The playback track (duped playlist) is Rec Ready, and I pull the volume down a good 3-5dB. Singers seem to prefer hearing playback lower than their current live vocal.
Then, the track below is Rec ready also, but in Input, and at the normal volume the artist would prefer.

Begin playback (in Quick P Mode), and the singer will hear a lower level playback, and normal live voice singing along. At the punch in point, I record on both tracks and they just hear themselves. Sure, a bit louder since its combining with the playback track, but most dont notice, or I just find their limit of how low I can reduce play back track level.

After the punches, I can do various things depending on what comes next. I can do it over if needed.
I can delete the regions on my record track quickly, since the same regions will be on the play back track punch-in spots, (now playing back at the same low level if they are keepers and we do fixes on other phrases).

Every artist is different so you can mess with the best volume combos.
As a last ditch effort, I will put Trim Plugins on both tracks, and invert the phase on the playback track so when the punch spot comes, it will do SOME canceling (since the levels aren't the same, and I try to pull that playback track down as much as possible).

Lastly, if this is a regular client, you can try different levels and eventually find something that works for them. If its a new client, and you don't know their personality too well etc, I just have a quick chat about it, and ask if they remember " how they were hearing things at the other studio that was able to do it " , and I try to match it. Usually, it ends up that they just want a quiet guideline to reference to and the level jump at the punch is insignificant. Its a complicated process, but it all depends on how fast they are, if they punch 10 words in a whole verse, or are more laid back and you have time to mute regions on the fly.

Either way, I hate doing it, and unless its someone who does it all the time and I HAVE to match my competition, I just discuss it and if I get the newbie vibe, I offer other methods.

The compromise often is just having a track in input on playback and just using one hand to punch and the other to disable input at the same time. (I do this on playback anyway so they can speak to me and stop me if they hear a mistake during a section)

MT

[crizdee]

Hi,

Please someone make a plugin thats goes into mute when the transport goes into record

Steven Massey


Actually there is probably a long winded way of doing this! a second track that goes into record and routes a signal to a compressor that ducks the signal on the monitor track!

Come on people! don't make me do it, someone must have the time to figure this one out???

Chris