Adjusting Release On Audio Tracks

Was wondering;

How do you adjust the release on an audio track so that when looped the end isn't abruptly cut off by the beginning?

I checked jjs manual and didnt see anything for this.

Cross-fade looping?

Yep that is an obstacle with Audio Tracks sometimes, it comes down to the recording.

You may want to record as audio track, and then put the Take into a program so you'll have more flexibility. (Adjust release etc...)

elevated wrote:Yep that is an obstacle with Audio Tracks sometimes, it comes down to the recording.

You may want to record as audio track, and then put the Take into a program so you'll have more flexibility. (Adjust release etc...)

another reason why direct record would be more useful than audio tracks, as it would allow you to easily record in time with the sequence, assign to a program and then assign the event to a track.

Mike Feedback wrote:another reason why direct record would be more useful than audio tracks, as it would allow you to easily record in time with the sequence, assign to a program and then assign the event to a track.

i must be missing something because thats exactly what i do now with audio tracks.
if i record on audio track 58 i record a take ("take1.wav"), assign that take1.wav to a program and trigger it on track 1 in step edit. then next time i record an audio track i go back to audio track 58 and repeat the process. do lots of layers this way.

just curious, what would be different about this workflow using direct record instead of audio track?

punchdrunk wrote:
i must be missing something because thats exactly what i do now with audio tracks.
if i record on audio track 58 i record a take ("take1.wav"), assign that take1.wav to a program and trigger it on track 1 in step edit. then next time i record an audio track i go back to audio track 58 and repeat the process. do lots of layers this way.

just curious, what would be different about this workflow using direct record instead of audio track?

Once you record a JJ Audio Track it's done you don't have to assign and trigger it.
It's recorded in the timeline and plays back according to where you are, just like in a DAW.

The method you are using doesn't even require an Audio Track you could simply sample the input while the sequencer is playing the assign the sample and trigger it.
Audio Tracks are for recording to position on the timeline with the ability to playback from any point within the audio.

punchdrunk wrote:
i must be missing something because thats exactly what i do now with audio tracks.
if i record on audio track 58 i record a take ("take1.wav"), assign that take1.wav to a program and trigger it on track 1 in step edit. then next time i record an audio track i go back to audio track 58 and repeat the process. do lots of layers this way.

just curious, what would be different about this workflow using direct record instead of audio track?

direct record would simplify that process and make it more efficient. basically, instead of going to an audio track, you would enable direct recording on the current drum track. you'd play the sequence, and then be able to start sampling where ever you want. the mpc would remember which step you began sampling at and when you stopped sampling, it would ask you to choose a pad to assign the sample to, and if you assigned it to a pad, it would ask you if you want to record a note-on even to the sequence.

the result is a sample that is perfectly in time with your sequence that's assigned to a program so that any program parameters (attack, delay, filter, etc) can be modified.

also, since you can begin sampling mid-sequence, it doesn't add silence to the beginning of the recording and waste valuable sample time like audio tracks do. you can even begin recording a direct recorded sample near the end of a sequence and have it continue across to the beginning of the sequence, which is impossible with audio tracks.


THE ADVERSARY, if punchdrunk didn't use audio tracks to record his samples he'd have to adjust the starting point of his samples and try to figure out where in the sequence he had to trigger them. using audio tracks it at least adds that silence to the beginning of the sample so he knows he just has to trigger them at the first step of the sequence and doesn't have to mess around with the start points.


I still believe that if JJ would just implement direct record with continuous sample track it would make audio tracks obsolete because audio tracks are soo limited. if you don't believe me, head over to guitar center and try direct record and continuous sample track on the mpc5000.

THE ADVERSARY wrote:Once you record a JJ Audio Track it's done you don't have to assign and trigger it.
It's recorded in the timeline and plays back according to where you are, just like in a DAW.

nah, adversary i already know what audio tracks are and how they work. the reason i do it the way i do is because there is a limited number of audio tracks that you can have, so if you do it the way i had posted you can have unlimited takes triggered, all perfectly in time starting at the beginning of the sequence.

mike feedback pretty much explained the most important part, the timing....

Mike Feedback wrote:THE ADVERSARY, if punchdrunk didn't use audio tracks to record his samples he'd have to adjust the starting point of his samples and try to figure out where in the sequence he had to trigger them. using audio tracks it at least adds that silence to the beginning of the sample so he knows he just has to trigger them at the first step of the sequence and doesn't have to mess around with the start points.

and now i see what the difference is in the direct recording method. it will do it mid sequence, and/or overlap to the next sequence. interesting. i could see how that could be useful, especially the overlapping...

The is no limited on Audio Tracks move up to XL, anything else is still missing to many of the new twist.

The is absolutely no reason for you audio tracks to have silence at the beginning if you don't desire it, nor do you have to guess at the point a sample goes.

All you have to do in either case is scoll to the point you would like for the sample to be triggered or would like for the audio track to begin and use the WAIT FOR KEY function.
You will then have started your audio track at a specific time or know the exact point where you would need to trigger a sample.

If you wanted your audio track to start at 003:02:72 it would start there with no silence on the front or wasted memory.
Same goes for the sample you would trigger it at 003:02:72.