Saxon1066

Grem
I think what Saxon is talking about is not four separate takes, but four takes taken at the same time. Like three different mics, a 57 straight on, a 57 off axis, another mic a foot or two away or perhaps in the room, and a direct in, all recorded on different tracks at the same time recording the same performance. And do four or five takes like that.

Now try and comp that!!

Exactly, Grem!  Usually two mics on a guitar cab plus a DI track--but sometimes also the room mic.  So, I am recording three or four tracks simultaneously for one guitar part--and doing many takes of that guitar part.  I'm an imperfect player, so up to 20 takes--I've gone to 75 takes in fits of madness--sometimes selecting one good note from a take when comping.  The screen was comprehensible with layers, but with all those main track lanes and the small-sizing limit on take lanes, it's difficult in X3.  Watsamatter?  don't you guys seek utter perfection in your recordings?  Bwah hah hah!  Ah hah hah hah HAH!

 
What happens when you group those tracks together before making your comps with the take lanes? Or, why not just record the DI track, comp that and then re-amp it for the actual tracks. Helps cut down on phasing weirdness and the odd crossfade compromises.

Grem
I think what Saxon is talking about is not four separate takes, but four takes taken at the same time. Like three different mics, a 57 straight on, a 57 off axis, another mic a foot or two away or perhaps in the room, and a direct in, all recorded on different tracks at the same time recording the same performance. And do four or five takes like that.

Now try and comp that!!

clip group the four tracks, comp one track all four comp the same. end of story.

I have a question:  I just got X3 so I haven't had a chance to even try any of the comping.  I had X1 before this and never had X2.
 
I actually mostly liked the old layers for a lot of reasons.  Aside from doing comp'd takes, I used to use the layers to do thick vocal tracks, which could be easily collapsed, all followed the same track automation, and all went through the same effects and whatnot without the need for passing off to a bus to deal with them. 
 
For example, I might have a three part harmony, each part having 6 takes all playing together to get a nice thick stack.  Then I'd be able to EQ all the stack of one part together - a high part might have different EQ and compression, for example, than a low part would have.
 
Is this sort of workflow still an option with the take lanes?  Also, I'd record them sometimes by listening to the previous take, but sometimes just one after the other without listening to the previous, just to get somewhat more natural/looser takes without the influence of the previous takes.
 
I want to check out the new take lanes because I'm not a great guitar player/bass player, but I'd also like to know If my previous layers method is still an option.
 
Thoughts?

FastBikerBoy

Saxon1066

Grem
I think what Saxon is talking about is not four separate takes, but four takes taken at the same time. Like three different mics, a 57 straight on, a 57 off axis, another mic a foot or two away or perhaps in the room, and a direct in, all recorded on different tracks at the same time recording the same performance. And do four or five takes like that.

Now try and comp that!!

Exactly, Grem!  Usually two mics on a guitar cab plus a DI track--but sometimes also the room mic.  So, I am recording three or four tracks simultaneously for one guitar part--and doing many takes of that guitar part.  I'm an imperfect player, so up to 20 takes--I've gone to 75 takes in fits of madness--sometimes selecting one good note from a take when comping.  The screen was comprehensible with layers, but with all those main track lanes and the small-sizing limit on take lanes, it's difficult in X3.  Watsamatter?  don't you guys seek utter perfection in your recordings?  Bwah hah hah!  Ah hah hah hah HAH!

I record a bit like this especially acoustic guitar. I usually have a DI from the guitar and three mikes, one on the body, one on the neck and a room mic.
 
I then do as many takes as needed which is usually at least 4 or 5, often more. Either way I end up with several tracks and takes. If you use clip grouping you don't need to worry about anything more than one track while comping. Expose the lanes in on track and comp that, the rest will follow. I can't envisage wanting different takes on the same track. In that scenario I'd use different tracks in the first place rather than takes.
 
I do quite often use a second comp from the same set of takes and that's even easier now in X3. Do the first comp then flatten it then do the second and then flatten that. Move them out in separate tracks.
 
I'm sure I find layers in the earlier versions as insane as you  do takes.YMMV of course.

 
Thanks for that FBB!  I'll have to try that.
 

Mystic38
clip group the four tracks, comp one track all four comp the same. end of story.

'Tis what I do.  That's not my complaint.

bronsoncox
 Or, why not just record the DI track, comp that and then re-amp it for the actual tracks. Helps cut down on phasing weirdness and the odd crossfade compromises.

I have the Creation Audio Labs MW1 Studio Tool, a premier re-amping box, and a Radial as a backup.  Re-amping just still doesn't quite recreate the direct mic'd sound--a bit of sustain is lost, for example.  I use DI in case I radically change my mind about the sound and/or adding amp sim plugs.

I'm with FBB on this. I never got layers at all, but I get take lanes.

Whoever works out the psychology of that is going to be the genius who designs take management for Sonar X6.

I've always understood and used both, but still prefer Lane over Layers... particularly with the recent updates in X3.    Gimme a Hide Lane command and more control over Lane size and I believe I will feel Lane complete.  
 

I don't use take lanes....can I have my thread back now ??

djwayne
I don't use take lanes....can I have my thread back now ??

LOL! Looks like it's too late.