adding effects to selected area of track

many effects can be added to one track

MANY ‘POWER USERS’ already use a version of this, but it may be of interest to those who want to be a bit more creative with their effects -

it is very easy to add an effect (or many effects) to selected area(s) of a track -

in the screenshot LINK BELOW - you will i see that i have cut two measures (shown by red line) of the top track, i have opied and pasted the two sections to the second track on which the effect has been added –

automation has been turned ON and the enlarged insert shows the volume nodes that allow the effect to blend in and out moothly -to add a second effect (or more) to the track, you just have to cut the track at the points you want the effect to start and finish, then copy and paste that section to a new track, add the effect to that track and adjust the volume nodes to suit - and so on -

http://i235.photobucket.com/albums/ee177/eurodog6/myscreenshot-18.jpg

of course you dont have to cut the track, you can just clone it and work as shown BUT cutting the track makes the effect transitions easily visible in a busy mix -

Dr J

I will now incorporate about 300 effects combinations
on a single track just to show how this valuable tool can
be severly mis-used.
Thanks DR J - that’s neat!

BTW
- two questions
1. Without starting up a tangent thread, what are you using

for those great screenshots?
2. Velvet Harmony - New #1 Song + video + movie?

1… windows print screen pssted into Corel PhotoPaint for screenshots - Corel Draw and Corel PhotoPaint for signature pictures -

2… its full title is “the black velvet band”, it was downloaded as a MIDI file, then because it has superior MIDI handling it was put through Harmony Assistant (which uses real notes not blobs) where it was recorded as a wave file using Harmonys sound base which is a million times better than what you get from M$ofts wavetable synth - and starting with a B (and having no tracks starting with A)its the first track in my n track folder so thats what i use (just to lazy to move that mouse 1 level down) -

you can have VIDEO if you want, i have 2 versions of MAGIX Movie Editor and also KoolMoves and Corel Rave for flash animation - but videos take an age to do and uploading them on dialup is not viable -

Dr J

Another way to do this which doesn’t require chopping up the tracks is to use effect automation (providing the effect supports what you want - most do), or if it’s a “buss effect” you can stick it on an Aux channel and automate the send to that.

yes thats true as far effects automation is concerned - as i HAVE NEVER used aux or returns on that i cannot comment -

taking FREEAMP2 (free with N) as an example i counted 175 posabilities of effect parameters to automate - not that anybody would want to automate everthing at once, there is another problem using effect automation, no matter what track the effect is placed on the affect automation will start on track 1 - so say 10 of FREEAMP2s parameters are automated they would span the first 10 tracks of a song which as i have found to be rather confusing as one can only view one automation process at a time if both volume and effects fall on the same track switching between the two every time a change to one or the other is made is a nightmare - the simplicity of what i describe is that everythig is where it belongs, what is happening can be seen at a glance, and as i said in the post i only cut the tracks for good visability in a busy mix, and that it works exactly the same just by cloneing the track adding the effect to the clone and use volums autmation as shown -

Dr J

Yeah, that’s true about the effect parameters and the clutter in the first track. I use sparingly.

Using Aux busses emulates the good old analogue days wher you had, say, a single reverb effect and you needed reverb on several tracks. In the software world there are still benefits to working this way though…

* It saves CPU cycles (eg one reverb plugin servicing many tracks instead of one per track)

* You can have the same effect (again, eg reverb) applied to many tracks which in the case of reverb makes the tracks sound as if they are in the same “sonic space”. Tweaking the effect (eg room size) is then only needed to be done in one place rather than many.

* The Aux sends are easily automatable (if that’s a word) so it’s easy to alter an effect over part of a track. The Aux send envelopes stay with the tracks that they are in so no clutter compared to using the effect automation.

Dr J - try an Aux buss. It’s a good way to work at times.

WOW! nice screen shot…so that is what N looks like these day? :O

I do wonder if one could do this procedure in older version…? How old I am afraid to say…let’s just say dirt called and asked for the 5 bucks back it lent me…

keep shinin’

jerm :cool:

should be the same J, though you wont dont get the nice ‘curly’ log envelopes in earlier versions -

Dr J

XonXoff -

first let mr correct an ommision, “i never use aux or returns in N TRACK” - yet i do it instinctivly in Tracktion - now you will ask WHY ? - well it is a personal thing and is part of my long years (63) and the conditioning of environment - in Tracktion i can see the physical relationship between a track and tracks that are sent to a track on which the effect is placed - ie there is a graphical link - if (again in tracktion) i set up an instrument channel, i see the instrument channel - these i do not see in N, the audio dissapears into a black hole and re-appears in the form of a fader that has no physical track to fade - this mental imprinting of a physical(allbeit graphical) link stems from using hardware where the link is the conecting cable - without EGO or bigheadedness (at this moment in time) i have facilities that go far beyond what most N track users have, (Bill “WoxnerW” and myself are pretty close in hardware terms as we both have the basis of a fully operational commercial studio) - and here the difference really stands out -

it is commomplace for you to use GROUPS, yet that is alien to me, reason on my console i press a few buttons and can link as many faders as i want to work together, i move one, they all move so there is no dount in my mind that what is happening is happening - not so in N, i move the GROUP fader and the faders that are grouped stay still and as i have 36 motorised faders on the console it is important to actually see whatis happening especially if i activate the consols automation that at X point X faders move, i presume you are consol ‘savvy’, when using one the the DAW in use really just replaces the old multitrack tape machines - but thank (WHOEVER YOU PRAISE) the freedom of a DAW can never be under estimated -

when i am here at home using a very basic PC, if i think that a track should go to what i would call an INSERT (a send and return socket on the consol) then i know how it will sound in the studio and i do exactly that, take the track(s) to the studio, bang them through the consol insert the hardware that will give the effect i want and mixdown from there -

to my chagran not bothering to use Ns aux and returns is a failing that i must rectify - i will try aux and returns in N, thats a promise, but NOT GROUPS, only when i see the grouped faders move at the same time as the master group fader then i will come onboard and group away happily -

Dr J

NEW VERSION

here i have added a MUTE TRACK to the timeline - at MIXDOWN this keeps the timeline running for the full length of the effect -

track 1… is a guitar loop and is just over 3 seconds long -

track 2… the effect (tape echo) is added to the last chord of the loop the effect is 7 seconds long -

track 3… by adding a copy of track 1 to track 3 and re-positioning the track in the timeline THEN MUTEING THE TRACK keeps the timeline running untill tape echo fades to zero -

track 4… mixdown of above -

LINK to screenshot

http://i235.photobucket.com/albums/ee177/eurodog6/myscreenshot-20.jpg

Dr J

Quote: (DR Jackrabbit @ Oct. 03 2007, 4:22 PM)

XonXoff -

first let mr correct an ommision, "i never use aux or returns in N TRACK" - yet i do it instinctivly in Tracktion - now you will ask WHY ? - well it is a personal thing and is part of my long years (63) and the conditioning of environment - in Tracktion i can see the physical relationship between a track and tracks that are sent to a track on which the effect is placed - ie there is a graphical link - if (again in tracktion) i set up an instrument channel, i see the instrument channel - these i do not see in N, the audio dissapears into a black hole and re-appears in the form of a fader that has no physical track to fade - this mental imprinting of a physical(allbeit graphical) link stems from using hardware where the link is the conecting cable - without EGO or bigheadedness (at this moment in time) i have facilities that go far beyond what most N track users have, (Bill "WoxnerW" and myself are pretty close in hardware terms as we both have the basis of a fully operational commercial studio) - and here the difference really stands out -

it is commomplace for you to use GROUPS, yet that is alien to me, reason on my console i press a few buttons and can link as many faders as i want to work together, i move one, they all move so there is no dount in my mind that what is happening is happening - not so in N, i move the GROUP fader and the faders that are grouped stay still and as i have 36 motorised faders on the console it is important to actually see whatis happening especially if i activate the consols automation that at X point X faders move, i presume you are consol 'savvy', when using one the the DAW in use really just replaces the old multitrack tape machines - but thank (WHOEVER YOU PRAISE) the freedom of a DAW can never be under estimated -

when i am here at home using a very basic PC, if i think that a track should go to what i would call an INSERT (a send and return socket on the consol) then i know how it will sound in the studio and i do exactly that, take the track(s) to the studio, bang them through the consol insert the hardware that will give the effect i want and mixdown from there -

to my chagran not bothering to use Ns aux and returns is a failing that i must rectify - i will try aux and returns in N, thats a promise, but NOT GROUPS, only when i see the grouped faders move at the same time as the master group fader then i will come onboard and group away happily -

Dr J

You'd love Reapers Folder tracks then (sarcasm) - it's even more "disconnected" IMO, ....but it works and and I use it because I guess we all need to be willing to look at new ways of working.

i actually like REAPER now its re-skinned - but it does not like my OS, i think that by V3 it should be well sorted - Mackie Tracktion is my second choice for some things 1st choice for others - its a class act -

a lot of people jumped on the reaper bandwaggon because it worked (with a bit of headscratching) straight out of the box (as they say) - HOWEVER since it has had RAVE REVIEWS on many music mags, the original users are being blown away by the ingress of Pro Toola, Nuendo and other highend users who find it adds more capability to the most expensive, it being what what the most expensive should have in the first place - the CUDDLY TOY has now turned into a savage beast that eats up nobrainers, it will soon (already has started) lose its lowlevel fan base and become a program for the elite only -

Mackie Tracktion 2, cheap as chips now that V3 has been released - worth buying for the free plugins alone and is rock steady -FREEBIES, RNIV drum machine, SLAYER2, Sampletank LE etc -

Dr J

My solution to this is not nearly as elegant but came about through intuition.

If I have a track that I wish to treat with different effects across the timeline I clone the track the number of times as desired effects, apply one effect to each cloned track then isolate the portion that I want with that effect by dragging the ends of the track in. Once it sounds the way I want it to I save it as a separate .sng file and mix it down to one mono or stereo track (as appropriate) then insert the mixed down track.

Like I said, not nearly as elegant but I find it less confusing and much easier on CPU usage ( a definite issue back when I used a 486! ) when it comes to doing the final mix. Because I’ve saved the separate .sng file it’s a fairly straight forward process if I ever want to change it up.

Quote: (BillClarke @ Oct. 07 2007, 1:12 AM)

My solution to this is not nearly as elegant but came about through intuition.

If I have a track that I wish to treat with different effects across the timeline I clone the track the number of times as desired effects, apply one effect to each cloned track then isolate the portion that I want with that effect by dragging the ends of the track in. Once it sounds the way I want it to I save it as a separate .sng file and mix it down to one mono or stereo track (as appropriate) then insert the mixed down track.

Like I said, not nearly as elegant but I find it less confusing and much easier on CPU usage ( a definite issue back when I used a 486! ) when it comes to doing the final mix. Because I've saved the separate .sng file it's a fairly straight forward process if I ever want to change it up.

Now this is going the long way around something Bill! LOL

Now for confession time! Since automation and my feeble brain don't co-exist.

I do this also! ROFL, thought I was the only one doing such stuff!

Yaz

Yaz, I suspect there are a few of us “feeble brain” people out here.

One of the things that most excited me about n-Track, back in the day, was the fact that I could bounce down groups of tracks without raising the noise floor - a huge improvement over my days in an eight-track studio when I wanted more than eight tracks - I guess I continue to use the bounce down approach because at least I understand it.

Same here Bill, coming from the ol’ 4track cassette days, ping-ponging tracks making room for more. Those were the days! :agree:

Yaz

Re: BillClarke My solution…

I passed that by Spock -
He said ‘Lgogical indeed’
:)

Hi Gents:

I think it was back in late v2 or was it in early v3 ???? that the n-Track users of the day along with many of them including me, headed up by learjeff produced a Block Diagram/Signal FlowPath of how n-Track should handle/direct a signal from input-to-output, e.g.
Pre-and-post faders and EQ. controls, etc., as if the same signal were processed by a “REAL” Mixer, as opposed by a “Virtual” Mixer… Hence…
Aux. Sends-and-Returns… and n-track’s ability to Automate the “Sends-and-Returns”
What a great addition to n-Track…
And, a Big Thanks goes to Flavio for writing this feature into n-Track… and for those users who Group Effects with Sends-and-Returns…
It’s as if, the Virtual and Real Mixer is One-and-the-Same…





Bill…