I'm finally a "new" lanes convert (Except...)

Thank you for the positive feedback about the gif. :slight_smile:
The functionality is also there for multitrack comping. In the part editor the events can be independently edited and the folder track grouping feature does not apply. You can dissolve the parts if you would like to change the comp.
Here is a gif that shows multitrack comp protection:

I watched your gif about using Events to Part to keep selected audio snipets together during the comping process. But here is my question. In your video, when you selected the parts to keep, highlighted the section, then excecuted the Events to Part from the menu, what happens to all the “un-selected” audio segements that were not selected during the comping process. Look like some of them might have been moved to Lane 1 but some of them dissappeared all together.

There are no dissapearing events.

Every event you select, whether the event is muted or unmuted, will end up in the part once you execute “Events to Parts”. :wink:

Look at the gif again and reproduce to make the workflow and concept yours.


Thanks again JHP :smiley:

I’m sure I speak for myself and all other users on the forum when I say posts like this, with animated gifs demonstrating workflow are priceless.

This is close to the solution I’ve been looking for and at the risk of sounding like a nagging b!t@h heres my one issue.

I don’t understand why once placed in parts grouped comping no longer works. Having to dissolve a part to adjust a comp for group tracks, but not for single tracks, seems a bit inconsistant.

Honestly I do wish we could continue editing within a part and have grouped tracks follow.
Then if we want to do independant editing within a part simply just turn off the group editing button on the folder. Thats how I imagined it to work anyway.

Otherwise the method of using parts is a very good solution to preserving comps. In fact the way you showed that comps can be comped into other comps which were then comped was quite an eye opener for me. :open_mouth: :wink:

The programmers could have found a problem or two with the “multi-session” aspect of comping. I dunno, the History aspect maybe? I can see how some scenarios may get very complex and compromise the history in a very random way or just a simple bug somewhere. My guess is that it could well change back or to a better or worse version before it settles to what “everyman” wants.

This thread is an object lesson in good threads and general civility. Credit all. Thank you.

This is going to be a long post. Bear with me - it’s a holiday here in the States! :slight_smile:

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:

  1. Record multiple takes to a track
  2. Comp takes
  3. Select > All on Selected Tracks
  4. Events to Part
  5. Record new take(s) to same track
  6. Mute NEW takes
  7. Dissolve the Part created in Step 4
  8. Comp again (split/unmute/activate the new takes, as desired).
  9. 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).


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.

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).

I think at the Cubase page top you’ll find Helge Vogy’s announcement about C6.0.4. Revision nect week and official release soon. This makes mention of a metronome fix.

Thanks for your posts A.j and asessing the current situation.
I have already reported this thread to the respective departments.
To make the gifs I am using “LICEcap”. :slight_smile:

Thanks to all of you,

Wanted to add an idea I posted in the Nuendo forum for a “Move Comp To New Track” function:

I’m often double, even quadruple tracking things like BV tracks. Currently, I have to drag the different bits of audio I choose from the lanes for my (First) perfect take, and drag them up to a new track. But I think the following feature would be great:

  1. Go through all your sliced up lanes until you have your “perfect take.”
  2. Instead of Advanced/Delete Overlaps, select a new function called “Move Comp To New Track”
  3. All the bits of audio that made up your perfect take are MOVED to a new track above the selected track and is named “Comp Vocals 1” for example.
  4. Now, because all of these bits of audio have been MOVED to a new track, they are no longer available in the track you were editing lanes in. This avoids you accidentally choosing the same bit of audio when selecting bits for a new double tracked vocal comp.
  5. Now you can run “Move Comp To New Track” again and make a third track if you’d like.

Sorry if this isn’t clear. This would be more of a musical application rather than post, but . . . I still think it would be a time save for me.

great :slight_smile:

Just to let you know, everyone I’ve talked to who is either using cubase or nuendo in professional settings are really upset about the new lanes and prefer the old version
Me and most of them are still using cubase 5.5 or nuendo 5.1 for most of our work… For us, the new lanes really mess things up

And btw… group edit isn’t really new… I’ve been doing that for ages, just group the events on the different drum tracks together using ctrl+g… Edit them ilke one
After a take, press ctrl+g and do a new take. repeat. Easy

That’s awesome! Thx!

Those gifs are great. One gif says more than a thousand words! :sunglasses:
Create a locked topic with all of them, one in each post and a short description plus maybe a link to the original topic? :bulb:

Over time I will add some Cubase 6 advice thereads which are all linked to each other and form a ring:
It starts with this one:

I will make a short comp protection thread to add the gifs there and link it to the ring.


I don’t want to learn a new workflow to protect my work from broken functionality…

If you’re not always learning something new with Cubase… :unamused: maybe you know it all. :mrgreen:
Like me.

It’ll make a nice gif-t for someone…

I’ll get my coat :stuck_out_tongue:

What, you’re always learning something new… :laughing:

What, you’re always learning something new…

Yep. But it pushes the old stuff out. :laughing: Then I have to learn the old stuff again.

Recursive learning :laughing:

Well… the old way was fine. quick and easy. The new way fucks this up and to be able to work kind of like i did before I now have to incorporate a slow and messy workaround into my workflow.

Seriously, if you don’t understand the problem, then you can’t have done a lot of advanced editing in cubase

Fuck change, I want tools that work the way I want them to