I have a label client coming in who wants to record with me on N5 and then mix on his own Logic system. Obviously if we all agree on the final takes I can just bounce them all in place with the same start time and send him on his way with WAV files, but what do people do in terms of keeping multiple takes/lanes? Do you break them out into separate tracks? Could get crazy if there’s a lot of takes. Is there any way to make a project file that will reliably open in Logic? OMF? or whatever the new format is? I haven’t really dealt much with this lately. I don’t even know how Logic handles multiple takes . Does it have playlisting like PT? Will Logic open PT projects?
What I do here is after all the comping is done, everything gets printed then batch exported track by track. I have never had to provide any alts but I have for solos and sometimes vox, but it is rare. Sometimes there are 4 or 5 full takes of songs too, but they only get the selects.
If your client is taking part in deciding how the comps will be, then you should be fine. If the client wants to comp by themselves, then you are better off adding single tracks for each additional take instead of stacking in lanes. This would keep it simple when it comes time to export, just add everything in folders to keep the arrange window neat.
I would ask the client what they would prefer and let them know that is would be as quick to do the comping during the initial tracking sessions instead of providing 100’s of files to sort through. In my opinion, it is better than comping later, which you’ll find out if the part cannot be comped to an expectation, the whole part has to be re-recorded because the setup has changed and the tonality doesn’t match because the strings have broke in on the acoustic, singer having a bad day, etc… the chances the punches will not sit with the original has a higher likelyhood.
I speak from experience and I even make preset sheets and measure the mic distance and angle to the source.
Since this is a non edited song (I presume) you can just deliver the original takes.
If you have recorded in BWAV format, they should all fall into place in whatever other system.
Thanks for the replies. For some reason I’m not getting notifications from the forum but the session is tomorrow so it’s not too late.
There very well may be edits and punch and takes. In the past I just did a “bounce audio” and sorted the sound files in their folder by creation date. The batch export is new to me. I’ll have to give that a look.
The other option seems to be that I can do lanes while recording and then if they want to keep more than one take I can use the “create track from lane” command. Hopefully we’ll just do the comping here. It’s a new client and they only booked two evenings so I’m not sure how much time they were planning on spending.
Not sure I understand. Are you saying that BWAV has some universally embedded time code stamp so even if an overdub doesn’t start at the same place as the original track it will automatically open in the correct position?
My understanding was that tracks all needed to have the same start time.
Is there a “move lanes to separate tracks” command? Or can this be made from a macro? That way, he could still cycle record and then use the batch export feature.
Doesn’t one of the translation apps put “stacked” takes into separate tracks if an option is selected to do it?
I seem to remember SSL ProConvert doing this, but it has been a while since I ran it up so I might be mistaken.
AAT might work too - drop their support guys an email (Michael will get back to you so quickly it will make your head spin)
Sorry if I’m borderline off-topic now, but if you are working in a project and your timeline resolution is set to something other than frames for example, so that you start your recording between frames, how does the file get time stamped?
The only problem with that is I’m then relying on the producer or client to know enough to be able to import files according to the timestamp in whatever DAW they happened to be using. I was just informed that this producer will be “doing a little in PT and then moving to Logic”. Seems obvious I know, but I think I’m better off just doing it the old way and giving them files with equal start/end times. Besides, the new batch export is brilliant for this. I’ve just started messing with it and I love it. Offers and opportunity to balance record levels too and add any plugs if desired without doing an offline process. My only issue is when I include the click it is not in synch. I’m going to open a new thread for this issue.
The embedded Broadcast Wave info works like a charm. Sometimes I track a friends band at the local college’s studio. They use Protools on Macs (I’m on PC with Nuendo5) but I just set it up to record in Broadcast wave format and everything works great. No waiting for exports. The tracks just need to be placed at their origin time in the other system and all is in perfect sync. Watch out for the project start time though, you may end up with files placed an hour or more into the new project. Just select them all an drag/copy to a new start position.
That’s cool. If I’m doing something for myself on a different system that makes good sense. For clients though, I still wouldn’t be comfortable with it.
I gotta say - the batch export was incredibly fast and the ability to do a tiny EQ or whatever was really useful. My only beef with it is that it doesn’t include a click export.
. Does it have playlisting like PT? Will Logic open PT projects?