This is going to be a long post. Bear with me - it’s a holiday here in the States!
First off, thanks again to JHP for his ongoing help in this thread. “Saving” each comp in an Audio Part container (as JHP demonstrates in the gifs above) will definitely help those of us who miss Cubase 5’s comp-as-you-go recording capability.
(Incidentally JHP, what program are you using to create those gif screen recordings? They look great for such a small file size.)
It’s worth mentioning that this basic approach is itself a carryover from Cubase 5. I am a long-time user of Steinberg’s Audio Parts feature, and for years this was my preferred daily comping technique. In C5 (and earlier, all the way back to Nuendo 1), newly recorded takes appeared in front of any existing Audio Parts. And, yes, if there were comp’ed audio events within those Audio Parts, they remained safe and undisturbed while tracking new takes.
This behavior is essentially unchanged in C6. Good news for those of us who like this approach! However, there are some unique workflow issues C6 introduces to this technique. More on that below…
Over the weekend, I spent some time using this approach in a non-client Cubase 6 session. Here’s my basic workflow for comp-as-you-go recording in C6:
- Record multiple takes to a track
- Comp takes
- Select > All on Selected Tracks
- Events to Part
- Record new take(s) to same track
- Mute NEW takes
- Dissolve the Part created in Step 4
- Comp again (split/unmute/activate the new takes, as desired).
- To record additional takes, repeat from Step 3 as needed.
In general, this technique WORKS. Very cool. Some important notes:
a) It’s not necessary to dissolve the Audio Part each time (step 7). Instead, you can keep each Audio Part as an “iterative comp” for each “session of takes”.
b) If you keep iterative comps like this, you can still split them up onscreen while comping any newly recorded audio events in the Project Window. Split Audio Parts just turn into smaller Parts, and each will play back normally when activated in the Project Window’s Lane view. (This a little counter-intuitive at first, but actually can be useful to keep earlier comping efforts unchanged - as Kev Vin recently mentioned, it also kind of blew my mind when I realized it.)
c) Whenever I maintain iterative comps, I re-name each Audio Part as something recognizable, such as “SaxComp1” or “FluteComp12-31-11”.
d) Comps within Audio Parts can continue to be comped without dissolving them. This is VERY useful. Just double-click on them to open the Part Editor. This is great for tweaking up iterative comps. However, there are some significant limitations to comping within the Part Editor (as opposed to the Project Window). More on that below…
Now, some issues I’ve found with using Parts in C6 to “comp-as-you-go”:
i) When you dissolve a part after recording new Audio Events (step 7, above), the dissolved part’s takes become “mixed up” visually with any new takes in the Project Window’s Lanes view. This can be very confusing, especially when new takes are not the same length as previously split ones. It appears that JHP agrees - you’ll notice in JHP’s gif demo, he avoids this problem by manually moving his new takes down the screen to create empty lanes before dissolving his part.
However, this can be quite repetitive and time-consuming - first of all, notice how JHP manually moves the new takes down one lane at a time, rather than several lanes at once. This is a current limitation of the software. If the earlier comp you are dissolving contains dozens of takes (not uncommon after a long overdub session), you’ll need to manually move the new takes down dozens of times. But before you do any of that, you’ll need to take the time to open the part and actually count how many lanes you’ll need to manually free up. This needs to be fixed - perhaps by automatically moving all new takes downward when dissolving a part.
ii) As mentioned in other posts, using C6’s Group Edit feature appears to “break” some of this process. When I created a comp’ed Audio Part for a multitrack drum performance, I was unable to manually move my new takes downward into empty lanes at all. Thus, I simply couldn’t create room for dissolving the previously comp’ed part, as described in item (i) above. This appears to simply be a bug (if I’m overlooking something, please let me know), so I’m optimistic it can be fixed promptly.
iii) As already mentioned elsewhere, Group Edit does not work in the Part Editor, regardless of whether the Group Edit button is activated for the folder in question. This is a definite limitation I’d like to see addressed ASAP. Without fixing this, many of the benefits regarding iterative comping that I mention above (and JHP has demonstrated) go away when your multitracks are in Group Edit mode. It’s also just generally confusing and inconvenient for all of us who use this feature daily.
Comping and editing with lanes is where the rubber hits the road for many of us doing sessions with Cubase. Hopefully these comments add value to this discussion. So to conclude this longest post I’ve probably ever written (do I get some kind of booby prize?), I’ll just mention that these impressions reflect my very first experiences using C6’s new “comp-as-you-go” workflow. I may have missed something, so let me know! In the meantime, I’ll keep working with JHP’s ideas and see if I come up with additional thoughts.
Keep in mind I’m using 6.0.2 until the metronome bug is repaired, so please let me know if any of this has been fixed in 6.0.3 (the change log doesn’t mention anything).
Aj
P.S. There is lots of interest in this thread (as of today, 1200+ views and counting!). May I suggest that the gifs and discussion here be stickied at some point so others can find them? This is information I simply couldn’t find anywhere else - including online tutorials and after-market manuals.