- February 19, 2019 at 7:42 am #31712
Great, thank you for the really quick response Art. Until reading this thread I had imagined that the edits were produced from the midi / audio tracks in the DAW. I can see how using the mastered audio track will be much quicker, but I will need to really up my audio editing skills – I always end up with horrible clicks and pops after I start chopping up audio. I’m still quite new to it all, so I will need to set some time aside to practice this aspect of the process. 🙂February 19, 2019 at 8:18 am #31714
I always end up with horrible clicks and pops after I start chopping up audio.
Set your audio editor to snap to zero crossing, this will avoid the clicks and pops. There will be times you’ll need to turn this snap off to make a very exact timing cut, but 90% of the time it will be better on.February 19, 2019 at 9:11 am #31716
I can see how using the mastered audio track will be much quicker, but I will need to really up my audio editing skills
If your original project file is laid out correctly and use markers it should be pretty easy. In my project file I have a marker for the start of the track (as well as sections throughout the track). If you reload your master into the edit version of your project file, right at the start marker, everything will line up correctly and it’s very easy to cut on the beat.
Also, in my edit project file I lay in markers for around 14 to 14.5 seconds and the same for 30 second and 60 second. My last beat will be somewhere around (in the case of a 15 second mix) 14 to 14.5 seconds. That leaves a bit for hangover. That’s my routine but others do it differently.February 20, 2019 at 6:45 am #31720
I can see how using the mastered audio track will be much quicker
I think track style might have a bearing. I produce mostly EDM/Pop and for high end work I do the cuts from the original arrangement to avoid long release notes, reverb tails sounding too chopped.February 21, 2019 at 4:53 am #31725
Thanks again everyone for your valuable comments. I tried again last night with the ‘editing the master method’ and came across the exact issue mentioned by b1nrybl0ke. I had issues with delays and reverb leaking across splices, so quickly that directed me back to the method of using the original arrangement. Trial and error I suppose.March 9, 2019 at 6:38 pm #31852
Art, do your start marker and first note align, or do you leave a slight silence at the start of the cue? Thanks.March 9, 2019 at 10:15 pm #31853
Art, do your start marker and first note align, or do you leave a slight silence at the start of the cue? Thanks.
I leave 1/128 of a beat (and I set a marker for it). Really, it’s the smallest increment I can go in my DAW so at least, musically, it’s correct and it keeps the downbeat from getting clipped. I can use that project file, as a template, to load my mixes in to create edits and have everything line up correctly.March 10, 2019 at 8:55 am #31854
My fastest way to come up with shorter versions:
I’m starting with the full-length version (from bar 2, because a short silence is needed before the first downbeat. In Logic I liked when you could set the cycle range to start at a negative time-line number to render that initial silence, but I don’t think that is possible any more). Then I save as a new project (or “alt version” in the same document, if using Logic), set the cycle/loop range set to 60 seconds and drag the cycle/loop range around the full-length arrangement to quickly find an area that makes sense to start rearranging into a 60 sec version.March 10, 2019 at 11:20 am #31855
Good solution, thank you Art!
I have always started each session at bar 2 for the same reason, but obviously wanted the final cue to line up correctly with the grid without having a full (or even half) measure of silence in order to do so. I was curious as to how much.
Interesting idea for using the cycle range.