Its funny i was just wondering last week, how take management worked in samplitude. It would be interesting to see how multitrack take management works, like when tracking live drum takes. DP actually has a pretty good system for this, which i found simpler than protools playlists.

From the vid, i am wondering how you hear each take while comping? Just click on it?

Also is there a keyboard shortcut to switch from the cut tool to the multi tool? Do you know if its possible to move the cut mode button from the drop menu to the main toolbar? What about a keyboard shortcut to switch into composer mode? Just curious if theres a way to avoid the menu surfing.

kmetal, post: 462157, member: 37533 wrote: Its funny i was just wondering last week, how take management worked in samplitude. It would be interesting to see how multitrack take management works, like when tracking live drum takes. DP actually has a pretty good system for this, which i found simpler than protools playlists.

That's an excellent Idea for a part 2 video

kmetal, post: 462157, member: 37533 wrote: From the vid, i am wondering how you hear each take while comping? Just click on it?

Oh, yeah I didn't say did I.. you need to put the take in solo.. but I'll explore it further.. in Sonar, while playing you could click on a take where ever you want and here it from that time.. I'll experiment more with Samp and include my results in the next video.. ;)

kmetal, post: 462157, member: 37533 wrote: Also is there a keyboard shortcut to switch from the cut tool to the multi tool? Do you know if its possible to move the cut mode button from the drop menu to the main toolbar? What about a keyboard shortcut to switch into composer mode? Just curious if theres a way to avoid the menu surfing.

I know the top menu bar is customisable so I'm sure you can put handy tools there.
Also, you can customise all the shortcuts so yeah, make those you need most. I did even customise some of my controlers buttons for stuff they weren't assigned by default.

1. Adding punch in and punch out markers
2. Clear markers
3. Go to beginning of the project
   Those are the ones I use every sessions and they weren't assigned by default on my QCon Pro X

Awesome video!

Looking forward to part 2 :D

B

Finally got time to do part 2.

I found another way to work with takes right in the main project windows. For mulitrack comping.. it's so easy !! ;)

Sorry to say, comping has never, and never will excite me :). If I f up, I simply record again. And making a 'perfect take' from many...meh. Couldn't be easier, but, nope.. LOL.

Useful stuff, Marco, as always. Thanks!

Cool video man, its so nice to be able to just switch takes without having to see all the track lanes!

One question i have is how the takes are handled from an "object" perspective. What i mean is, say you were in the middle of a mix and noticed a wonky section you wanted to replace, and that part was part of an object with object level effects or settings. Do the object settings get preserved on the new take or not? Does this change if your replacing the whole object/section, or say just a little part of it. Basically how are object settings and takes related? Not sure how clear this question is.

Makzimia, post: 462253, member: 48344 wrote: Sorry to say, comping has never, and never will excite me :). If I f up, I simply record again. And making a 'perfect take' from many...meh. Couldn't be easier, but, nope.. LOL.

Yeah i tend to do full takes, as long as they are getting better, and stop when they start to decline. Then punch in on the best, i like building the final take "in the moment". i really dislike auditioning a takes when comping, its annoying to me. Its also faster most often to keep the player or singer at their mic/rig/kit and have then play the messed up section again, rather than fishing thru 8 previous takes. When they come into the control room, we are hearing the keeper, or at least the best so far. However it is nice to have some spare takes just in case we missed something, or you maybe need it for creative things like doubling a part.

Where comping is valuable to me, is if the parts themselves are good but different, like guitar solos, or maybe vocal melodies or drum fills. This is a great use for takes and keeping the session clean and quick.

Thanks again @marco for doing these vids. I could see you making an entire course on "how to samplitude"! Maybe when i get one the domain i have called "ProAudioClass.com" up and running you can sell it on there! Online audio ed seems to be the modern day equivalent of an internship. Cheers.

kmetal, post: 462255, member: 37533 wrote: What i mean is, say you were in the middle of a mix and noticed a wonky section you wanted to replace, and that part was part of an object with object level effects or settings. Do the object settings get preserved on the new take or not?

Good question.. I'll try this !

kmetal, post: 462255, member: 37533 wrote: One question i have is how the takes are handled from an "object" perspective. What i mean is, say you were in the middle of a mix and noticed a wonky section you wanted to replace, and that part was part of an object with object level effects or settings. Do the object settings get preserved on the new take or not? Does this change if your replacing the whole object/section, or say just a little part of it. Basically how are object settings and takes related? Not sure how clear this question is.

Sorry for the delay, I just tested this.

YES it works, I put a compressor on all the objects of each drum tracks, then cut a part and changed it to another take and the objects of the other take have the same compressor..
I also tried it with EQ adjustments and still works.. Great programming Magix !! :)

Awsome man! Thanks so much for testing it out.