So as I mentioned, in addition to Pro Tools, there is some other composition software at work here. The role of
Native Instruments' Maschine is a little harder to define than a common digital audio workstation. It's a loop-based composition and arrangement tool which can be integrated into my workflow in a couple different ways. Up until recently, I'd been using Maschine on a standalone basis to try out ideas, and put together grooves. I would then click and drag the resulting audio file over to Pro Tools for deeper editing. For the Bon Iver Project, I've started using Maschine as a vst, or plugin, in Pro Tools 9. This means that Maschine's timeline syncs with Pro Tools, and they operate in parallel. Tempo is also consistent. Maschine simply becomes one track within the project. This offers the best of both worlds, in a sense. I'm able to use Maschine where it really shines (as a loop-based composition tool) while it sits in Pro Tools, where things are more easily edited and fine-tuned. Ta daa....
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| Maschine 1.8 in Pro Tools 9. |
So, in order to know where each Maschine "scene" (or part) starts and ends, I've added markers in the Pro Tools edit view. I'm not saying this is the best way to incorporate this into your workflow, but it worked on Perth, and I'm trying it on Minnesota So far, so good.
