Destructive editing pro tools

It is good, however, to be conscientious of how your clips should be arranged. Going slowly here and properly organizing your clips will save you time in the long run. Avoid making new tracks! Duplicate the tracks that already exist in the template. If you make new tracks, they will not have the proper grouping or output assignments. The front pos left automation view will come up on the track. Your selection tool will becomes a downfacing bracket.

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Technology Access Program. Unpacking Instructions for Computing Kits. Return Shipping Instructions for Computing Kits. Render Farm. Town Center. Computer Labs. Post Production. Production and Installation. Preliminary Session Management After importing the tracks form your AAF file, the first step is to duplicate your imported tracks so that you have a clean copy of them in your session to use as a backup for future reference. Begin by selecting all of the imported tracks from the AAF file: click on the name of the first imported track, hold the shift key, and click the name of the last imported track.

Right click on one of the selected tracks and click Duplicate. The Duplicate tracks window will pop up and, since you want to duplicate everything, leave all options checked and click Ok. Now select the original imported tracks again in the same manner, right click, and this time select Hide and Make Inactive. Now you have effectively replaced the original imported tracks with the duplicates. In the Tracks list, you can see the inactive originals with italicized names and light grey dots.

Tips on Track Organization The first section fo the template is Dialogue. Moving Clips into Template Tracks First, take note of how your timeline looks in comparison to how they did in your picture editing software timeline. Are your mono clips in mono tracks?

Are your stereo clips in stereo tracks? If not, are they split between two mono tracks? Are they panned left and right properly, or are they both panned center? Are all the elements of your soundtrack Dialogue, Effects, Backgrounds, Music easy to recognize and organize? Sometimes sounds brought into your editing software appear to be stereo clips but are actually duplicated mono clips with the exact same waveform on the left and right channels.

For most purposes, this is unnecessary and one channel should be deleted. To confirm that this is the case with one of those pseudo-stereo clips, place your selector at a clearly visible part of the waveform and zoom very far in. As you can see, the waveforms are identical. This will reverse the positive and negative signal values, leaving you with the mathematical difference of the two clips.

The Weed Member. Re: Destructive editing Using the Pencil Tool is destructive. Send a private message to The Weed. Re: Destructive editing Elastic Audio is destructive. Send a private message to albee Find all posts by albee BobbyDazzler Member. Send a private message to BobbyDazzler.

Visit BobbyDazzler's homepage! Re: Destructive editing Quote: Originally Posted by BobbyDazzler If you need to drop in 1 segment of an hour long tvc mix, destructive record is awesome! Top Jimmy Moderator. Send a private message to Top Jimmy. Find all posts by Top Jimmy. Re: Destructive editing Quote: Originally Posted by Top Jimmy Punching in destructively rewrites the audio in the existing region's parent file.

Craig F Member. Send a private message to Craig F. Find all posts by Craig F. Re: Destructive editing I've used Destructive Punch on long format before. Digidesign and then Avid have tried to make almost everything in Pro Tools non-destructive; you can go back and undo edits, because you are not changing the source media, and if you get yourself in a complete mess, you can always pull the source material out of the Clip List and start again, which was not something we could do in the analogue world!

With Pro Tools There are still, however, certain operations in Pro Tools that are destructive, meaning that the original files are permanently overwritten — and in this Pro Tools workshop we are going to take a look at six destructive Pro Tools features to be aware of.

If you right-click on the record button in either the Transport window or in the Tool Bar at the top of the Edit window, a contextual menu pops up showing a range of Record options. One of these modes is Destructive. This allows you to record over existing audio on the timeline, permanently replacing the original.

In certain situations, this can be useful. For instance, suppose you have to make one small change in an hour-long radio drama. Rather than re-bouncing the whole programme which, in the days before offline bounce, was a real-time process , you could import the bounce to a track, and either patch the small area where changes are needed, then consolidate the clips to create a new final master programme file — or drop in in Destructive mode.

When you do this, the new audio is written directly into the original file. Destructive Record by its very nature is not undoable, so you need to be careful when using this feature! Destructive recording or punching in on a track permanently obliterates existing audio on the timeline. Another option in the Record button contextual menu is an HD-only record mode that operates in a similar way to Destructive Record, but with the added feature of being able to selectively punch in and out of a recording as the session runs.

You can only punch into an existing audio file, not into empty space. If any of these criteria are not met, you will be prompted to Prepare DPE tracks when you try to initiate recording.

Like its non-destuctive brother Track Punch, Destuctive Punch lets you punch tracks in and out individually one at a time or punch multiple tracks in and out simultaneously.

But unlike the non-destructive Quick Punch and Track Punch, Destructive Punch replaces audio within the target parent file, using a fixed 10ms linear crossfade.