Cheers…yeah sometimes it can work out well with some extra perspectives.
Just wish Cubase macro tool was a bit more nimble so it could be mostly a 1 click
you can absolutely split like this in SL
cut the selections to another layer
just work off a copy to keep the original for timing ref
as far as applying VSTs, I don’t know if users can apply VSTs per track
Well…no
This plug has parameters that allow a very clean grab of exactly what is needed
I have tried unmix comps with grew selection etc and its nothing like it unfortunately…you can copy to layer but its faster and easier to just do it in a normal editor ime
You can apply vst to the layers but the last solution I posted is simply amazing…unless I’m missing something
I never thought I could get exactly what I was looking for and so quickly
Cheers
I’m guessing processing via SL just not as fast as the process you are talking about here.
If user cannot select the parts of audio that user wants in SL, user hasn’t worked with SL long enough to develop those selection skills.
Hehe
User is not great and sought the gurus on forum
I kind of deduced best answer was unmix comps then select using poly tool or text selection. After doing this the unmix was pretty messy and arts were in noise layer but that affected other things. Because of dynamic nature, the amplitude treatment was only remedied by compressing just that composite layer
A lot of time and work, maunual sighting in waveform editor was much easier ime
Next solution
Required testing but accurately identified all target sounds in real-time
As per the second refined solution, it’s a real-time plugin solution that once setup as preset needs maybe a minute to loop worst case low/high level and from then on is a single adjust done with limiting
Anyway many thanks for everyone’s time…realisation of a very effective workflow been searching for decades. Part of my channel insert preset for Vox now
This is critical for hitting the mixbuss of diff types and being able to control with single dial
this is clear to me after seeing your screen shots…old habits are hard to break
it takes plenty of time and effort to develop the skills to read the spectrogram…learning to read the spectrogram for human voice (and animal voices) is a boon for use with SL. Cuts for comps that were impossible with full spectrum straight only cuts are a game-changer for any tight comping
which is to say
just means you haven’t learned how to read the spectrogram
because users can achieve much MUCH more complicated and imperceptible cuts for comps than straight waveform comping, for which the ability to read the spectrogram is required to achieve repeatable results. Add in a required good noise element of the content and the power of SL is simply awesome.
essentially, traditional full spectrum straight waveform cutting is what the SL Time Selection tool does (a very basic selection type); and users can create whatever shape cuts they like with SL selection tools.
My intention here is purely to show others who might read this that amazing comping can be achieved in SL, well beyond traditional DAW editing. I suppose I should share some screen grabs and vids…in good time.
@ctreitzell Well thats the point. You have obviously invested much and know a great deal. Im not a guru but not a dummy…somewhere in the middle
Bear in mind too, OP is about non pitched sounds mainly concerned with singing. If I had to spend more time than basic comping ie that required such surgical precision, I would have pulled that up on the tracking and got them to redo the take. I understand you do far more than this and thats amazing. I simply need to make music using core traditional components as its nearly all recorded audio in a studio environment
Deessing remains the focus.
You can also achieve a lot of this by simply using melodyne, full sibiliance 1 track, full tonal on the other then mess with whichever way you want but its quickly gets complex and inflexible in reality
- It becomes a snapshot
- Edits can adversely affect and need to rerender etc which becomes complex over 2 clips/track which then require grouping and further complication
- End up with complex comp structure (with my v1 workflow)
- Not s perfect split (compared to new workflow) but its adequate when mixed (artifacts remain)
vs,
- tweak a single knob at any stage of the mix in realtime by just feel/listen (after initial setup of max 1 minute) on a single stereo clip/track in a realtime process
I guess the point is that I dont doubt that what you can do is amazing but the abstract in this case seems a bit invisible to me.
If its harder than spectrally identifying sibilance and isolating it quickly (which can obviously be done so well by other products eg Apulsoft) then its not worth the work time…is it?
Ive been an experienced user of PS, doing work for TV graphics etc in the past and I was well paid…so the graphic context, masking, range selection etc is familiar but Im somehow missing something
YES actually seeing what you are saying would be excellent but in general, basic comping couldnt be much faster…Cubase has done a good job of that
BUT
Controlling sibiliance and all the other peripheral noises, to my goldfish bowl knowledge has been wanting however Apulsoft with a good limiter has now satisfied a wild control that I only ever dreamed of with such little effort that brings me back to creative control…what more does one need to complete art?
If it means I dont have to mouse around as Im sooo over spending years doing that…and just do music by feel rather than visual then Im really happy and thanks again for all the suggestions
ALSO
If I see that which improves on that with a tool I already own (with ignorance :(, then, with reasonable dexterity it would make absolute sense to adopt that…
Im not expecting you to divulge your work secrets…but some graphic clues to what Im missing would be amazing and very welcome
Always happy to be more efficient, do it better and give credit
TBH I just wanted a tool to mainly do
- Debleed drums: does that ok
- Layers components of a vocal quickly for deessing: WIP
- Debleed guitar vocalist on single take: Not useful that I can see. Leaves artifacts or removes integral parts of each source. Unsatisfactory