No it doesn’t - you enable the option in preferences, then whenever you add audio you can immediately “tab” to transients. No need to fiddle with anything in the hitpoint window.
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I will test this out.
Thanks!
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If the topic included Cubase you would have my vote sir
It does include Cubase! They’re not going to implement real clip gain just for Nuendo – the Cubase users would riot.
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Voted*
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I am 100% with the OP, and unless you need this feature you won’t be able to sympathise.
And to see comments of “I like it the way it is”, kind of rubs me the wrong way, because what we are talking about would leave it exactly the way it is, but add a simple extra that would be totally optional for those who wanted it.
It’s this reason I actually won’t commit to working in Nuendo, and I am still on V12, and trying the 13 demo and was saddened to see the horrible dynamic clip gain. The way it works is truly awful when you just want to raise or lower a tiny bit of audio within a clip without cutting the clip.
I think the OP should make a quick video showing how useful it is.
But for me, if I have a vocalist (for example), who has a crazy dynamic range that I’d need both heavy downwards AND upwards compression for, I’d do some manual leveling first, and NOTHING is quicker than the way PT does it (and now Reaper and S1 too).
The thing is, Nuendo is supposed to be top of the range audio editing software, with a price tag to match, so this sort of feature is precisely what is expected in software of this calibre.
An example.
I am always using the smart tool in Pro tools. I never have to do anything to get to the dynamic clip gain workflow, it’s always there. select a range of clip then drag up or down and pro tools instantly crates all necessary nodes for you.
You can have 50 different manual levels (as many as you like actually) within one clip with zero cuts to the clip, then you can drag the entire thing up or down with a single click and it will keep everything relative. It’s so easy to do clip gain in PT that it’s just silly and the first thing I thought was “Why doesn’t every DAW on the planet do it this way”?
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I just did a session in which I had to gain up all the recordings by 10dB. It was simple. I do agree that some form of gain control directly on the Edit window could be helpful, but since I moved away from Pro tools, I am enjoying having to think differently about how I perform tasks. Right now I am preferring to have to open a process window, as it forces my brain to take a second to think about what I am doing, instead of the all-too-automated processing I was doing in the past.
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Curious comment. We’re talking, for example, about adjusting one syllable at a time, or even the end of a falling vowel, the beginning of a consonant too or not sharp enough, or even smoothing a crescendo or diminuendo. Forget that in Nuendo, with its ridiculous, too-small window, where manipulation is imprecise. Unthinkable. This is a major handicap. Anyone who, like me, uses clip gain in PT understands this. For those who do it another way, by reducing or increasing a whole clip at a time, or by cutting the clip into small pieces and multiplying the crusades (which, by the way, take away your memory), they just don’t get it. It’s very clear throughout this thread. What’s less clear is why deprive yourself of it, or those who need it. I’m talking about SB. I’d love to hear an SB representative say it’s useless. I rather imagine that SB is unable to implement it for one reason or another.
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Apologies, wrong quote.
Wrong quote, sorry.
I completely agree with this comment.
The current state of the pencil tool makes it nearly unusable for tasks that can be easily accomplished with clip gain.
Additionally, the placement of the clip gain line in the middle of the waveform, as opposed to Cubase’s placement at the top, makes it difficult to grab and impossible to add gain in one smooth motion.
I don’t understand the criticism either. If you’ve mastered clip gain, you’ll appreciate its unmatched precision and speed in editing even the smallest gain details.
These, along with automations, are the two aspects where Pro Tools excels. It gives me hope that Steinberg recognizes the need to re-think automation, and I hope they reach a similar conclusion regarding clip gain.
.
You seem always angry in most all your comments.
Just go use Pro Tools, you keep pointing at it. So use it, and possibly, stop posting so much negativity on here, it really is exhausting.
Cheers.
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You’re very touchy. Why this frontal attack? I don’t feel anger towards anyone in particular (and not at all towards you, who seem to know me when I don’t know you at all), just annoyance at a situation that goes on. But here I feel your aggressiveness towards me. Please realign your guns elsewhere than on one person.
I’ve created this thread to promote a feature I’d like to see implemented in Nuendo (which I use more than Pro Tools these days). This request, which I’ve been making for a long time, is widely supported and explained by users other than myself. I apologize for having the liberty of commenting in the context of this thread, which I initiated and in which I am sometimes challenged. The rest is a matter of style. There are plenty of other threads for you to follow, and I haven’t gone looking for you. If you don’t like the tone of the show, change the channel.
This was a right of reply to a personal attack. It would be nice to stop here and return to the subject of this thread. Thanks for understanding.
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Everything you say is true and well said. 100% support.
I was rereading this thread and had missed this comment. What you describe is a very particular case and I understand that it can happen. In fact, poor adjustments with the clip gain can drive subsequent treatments crazy. So you have to get it right the first time. This is true of all things (some people, for example, overuse limiters before the mastering phase, which spoils the signal). This doesn’t detract from the need to modernize this aspect of Cubendo, but it’s worth pointing out.
It’s not wrong, you’re right. It’s a good list. Dessert is missing, but it’ll come! -
Not really. FYI you can use Alt+N or Alt+B on the main timeline and enabling automatic hitpoint detection is a once-only step and occurs in the background without user intervention.
Oh its just fascinating reading these threads and thinking through the history of it all.
2 points:
• input gain has always been there. Hated having to use a plugin slot in PT to just adjust the gain on a channel, or the phase.
• MixerDelay gives you a bit of gain (+6) as a plug-in
Now for bla bla bla…
I remember when I switched over to N2, it was mostly for plug-in delay compensation. But we also had folders back then, along with clip gain (just the event volume thing) and I was in heaven. PT felt like the stone age. Simply being able to edit during playback without losing my start position is a huge deal for my workflow. The whole selection/timeline scenario in PT is a deal breaker for me. But this has been around for decades now.
Anyhow, these companies leap frog in various lanes over the years with different sets of features etc. I certainly haven’t felt that PT has been calling me back except for interoperability with other studios. I need to go see what the clip gain stuff looks like now. I have a license on studio one but haven’t had the time to check it out. Heard nothing but good things though.
My 2 cents…
-Ashley
… as long as you don’t need tried-and-tested surround- or 3D-features. 8-/
Studio One has surround and atmos now as of v6.5! I haven’t played around with it myself yet though, but was really excited to see it finally implemented