I do a lot of editing. I don’t know what “advanced” means as I generally plan well ahead so I don’t have to complicate things that I may forget to edit.
For a couple of decades now, even on hardware keyboards, mixers, etc new versions always have changed features. Everything is always changing and on the move, some good, some bad. Usually it’s down to what features are NOT a selling point at present so it’s simplified and the devs look at it to see if any improvements can be made. You may find that it’s improved in some future update or they may even take it back to what it was. As the thread illustrates, it is a big deal for some so they may well rethink.
It has been briefly mentioned in the thread, but what I believe to be the simplest “workaround” for the issue when recording new parts appears to have been largely overlooked. Simply muting the newly recorded or pasted elements restores the previously comped sequence. Cubase seems to retain some sort of memory for the order that a part was selected in for any given period of time in the audio sequence, and muting any given active element of a comped sequence makes Cubase activate the most recently selected non-muted part. This is an incredibly easy way to record more parts for sections you have already comped without losing all your hard work.
Unmuting the part does not reactivate it in the sequence.
I should note that this is using 6.0.3
I just read your post akfunk, will have to try that out, thanks.
FWIW, I just spent some time color coding the “selected” bits that go into a comp before recording a new take. It looks like it might work ok here, at least based on the 1st few first look-see trial runs. No need to “protect” the comp as far as I can tell - even when the new take “rewrites” over the original comp, the original choices are easily identified by their different color, and the original comp can be relatively painlessly restored by clicking on those blue meanies.
The new take in its new lane shows up uncut, and when you do cut it, the cuts are extended up into all the previous takes on their lanes.I found that the cutting of the new take is not trivial - it’s pretty easy to have a veritable plethora of extraneous cuts on the original lanes, which just seems like an accident waiting to happen, at least on my computer.
It’s not so bad if the new take cut is far away from the original cuts made when working on the first comp. It was easy enough to just use the glue tool to delete the new cuts that had appeared on the “old” comp segments, and that was fine.
But, if I try to cut the new take in the same place/at the same point in time that the old ones were cut … I found it almost impossible to overlay the cuts precisely, and thus I wound up with multiple very narrow/short “slivers” in my old takes. [Edit: SNAP to events - no problems now ]
I’m hoping these will go away with x-fading, but I haven’t gotten that far yet.
Hope this helps someone down the line, and also if anyone has any suggestions re: this process, am I overlooking something important …? Also, especially for lining the cuts in the new take up at the exact same point in the track that the original cuts were made, I’d appreciate it! [Edit: SNAP to events - no problems now ]
Multiple lanes from cycle recording of an audio piece.
Comp.
Decide that you want to replace a piece of audio from one spot in the timeline with one from another. For example, the vocalist said the word “dig” in the first chorus instead of “dog” … he said it correctly in the 2nd chorus, and you want to cut and paste it over to the first chorus.
Yes, it’s another lanes-related disastrous oversight on part of the designers.
It makes it impossible to re-arrange your audio without losing the comp. Even moving vertically on the same track will lose the comp.
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