Editing across tracks

[I'm not a robot]

Greetings forum,..

I just finished a vocal session and I used two mics, one dynamic and one condenser. They sound great together and we had a 4 hour sesssion recording and overdubbing. Now that left me with alot of bits and pieces on both tracks and now Im looking for a method to edit them together. I used to do this in PT by checking edit when grouping track, but in Reaper it seems that that function is left out. At least, I cannot find it.

Im looking for a method of grouping two or more tracks so that I can edit them all together? Any help would be deeply appreciated,..

[I'm not a robot]

-------Bump-------

Let me rephrase that:

Is there a way to group channels together, so that if you edit one, the other one also gets the same edit?

[Judders]

You can group items for editing, use razor edits, or you could render them to a new track and edit them summed.

[The Kid]

I just select the items, press G and they get edited together.
You could have recorded them on a single stereo track, that works too.
Maybe you could collapse them into a stereo track? I've never done it.

[The Kid]

Originally Posted by Judders

you could render them to a new track and edit them summed.

That's a good one too, get your sound and move on.

[Judders]

Originally Posted by The Kid

That's a good one too, get your sound and move on.

If you want to be really fancy you can use the pin routing on your plugins to process them differently.

I like to do summing before processing myself. Keep it simple... because I'm stoopid.

[serr]

Originally Posted by I'm not a robot

-------Bump-------

Let me rephrase that:

Is there a way to group channels together, so that if you edit one, the other one also gets the same edit?

Other way around. You group the items together. Then enable the option for 'selecting one item in a group selects the whole group'. Work on one of them in one track and the rest follow. There's an SWS action to auto group items recorded together (ie multitrack).

So, opposite of Protools. The items don't follow track groupings. Group the items themselves.

You can also choose to create multitrack items. This can be convenient for drum overdubs when you want to work similar to tracking vocals with a recording bin and flying takes around. Record into a 16 channel item (for example). Route your mix tracks for those out to multiple tracks on the board.

[I'm not a robot]

Thanks a lot for all the replies. I will try them all on my next vocal project. The vocal comps for me are always the ones that ends up with the most takes and overdubs.

For this project, I (fortunately?) discovered some phase issues between the two mics and had to discard one of them, so the problem went away that way. What I ended up trying was to select both tracks and then edit. It was kind of tricky, it was to easy to mess up.

[Judders]

Originally Posted by I'm not a robot

Thanks a lot for all the replies. I will try them all on my next vocal project. The vocal comps for me are always the ones that ends up with the most takes and overdubs.

For this project, I (fortunately?) discovered some phase issues between the two mics and had to discard one of them, so the problem went away that way. What I ended up trying was to select both tracks and then edit. It was kind of tricky, it was to easy to mess up.

Phase issues should be fixable with time alignment and/or an all-pass filter.

[I'm not a robot]

Its only audible in the higher frequencies as in s´es and such. Its not the usual hollow sound, but rather a just audible swoosh. I just removed the one mic, and that solved the editing issue too

[Judders]

Originally Posted by I'm not a robot

Its only audible in the higher frequencies as in s´es and such. Its not the usual hollow sound, but rather a just audible swoosh. I just removed the one mic, and that solved the editing issue too

Getting rid of one mic is the quickest and easiest way to move on with a mix, but an all-pass filter or just low-passing one of them might have worked.

[I'm not a robot]

Thanks, I will try that on an upcoming vocal comp with the same setup. I was trying to set up a dynamic mic with 90 degrees angle to the other, but the distance between them was to big to get the angle exact enough. It was really because Im not to happy with my vocal mic. Its ok, but not top notch.

Just a question. What does the all-pass filter do? I always wondered about it, but I could never figure it out.

[Judders]

Originally Posted by I'm not a robot

Thanks, I will try that on an upcoming vocal comp with the same setup. I was trying to set up a dynamic mic with 90 degrees angle to the other, but the distance between them was to big to get the angle exact enough. It was really because Im not to happy with my vocal mic. Its ok, but not top notch.

Just a question. What does the all-pass filter do? I always wondered about it, but I could never figure it out.

It rotates the phase. Find a sweet spot by sweeping it around until it sounds better.

[I'm not a robot]

Ok, thanks a lot.

Just to put it into context; is the Radial Phazor sort of an all-pass filter?

I will try to low pass on the other project. Ill keep you posted

[Judders]

Originally Posted by I'm not a robot

Ok, thanks a lot.

Just to put it into context; is the Radial Phazor sort of an all-pass filter?

I will try to low pass on the other project. Ill keep you posted

Yes, that looks like it is an all-pass filter, along with a low pass.

ReaEQ has an all-pass filter, no need to spend any money on it.

[bolgwrad]

You could also put both tracks in a summing folder.

[serr]

Originally Posted by bolgwrad

You could also put both tracks in a summing folder.

Are you genuinely suggesting some feature/plugin called "summing folder" that has the ability to phase lock two mic signals where the source is in motion in front of them creating variable phase issues?

That would be a mighty powerful autopilot!


Actually you might try the adaptive azimuth correction tool in iZotopeRX. Singing in front of two mics is a good exercise in creating a flanger! Unless you lock your head in a vice or something.

Having said that... Sometimes you can add just some lows from a 2nd mic. Low pass before the point that starts to flange. Maybe you were after some lows to balance against a bright condenser?

[I'm not a robot]

I will check out the ReaEq all pass filter now that I know what it does. Stock Reaper is amazingly complete and fun to work with.