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Is it still a bad idea to start a song before 1 1 1 1?


gibby

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what's the benefit of starting before measure 1?

 

If you have a count-in before the song and you want the bar count to still be sensible for the rest of the song, it would be nice to be able to do this. Instead, I have to start at bar 4 with the count-in and set a marker for that to be the start of the song and remember that bar 1 is actually bar 5. Small problem, but annoying, as I was told there would be no math. :-) Also, when I import a track that has a count-in with smart tempo on, guess where it puts the count-in? Right there in no-man's land on bar 0.

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what's the benefit of starting before measure 1?

 

If you have a count-in before the song and you want the bar count to still be sensible for the rest of the song, it would be nice to be able to do this. Instead, I have to start at bar 4 with the count-in and set a marker for that to be the start of the song and remember that bar 1 is actually bar 5. Small problem, but annoying, as I was told there would be no math. :-) Also, when I import a track that has a count-in with smart tempo on, guess where it puts the count-in? Right there in no-man's land on bar 0.

 

 

i start all my songs (usually) on measure 2, it's not complicated. when i send a track to a singer, i add a countoff (and usually a chord to set the key) at measure 1. and life goes on. and i rarely use markers; i can see my regions start at measure 2, so i know... that's where the song starts. plus,it takes a half-second to move a region from 0 to 1 (or whatever).

 

starting before 1 1 1 1 is a bad idea in logic; just how it is.

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ah, makes sense. am so used to starting on measure 2 (unless i need a longer pickup), i tend to think of '2' as 'start'....

That's fine if you work on your own, but when you have a musician, a director, an orchestrator looking over your shoulder who wants to go to bar 195, it would be easy to be able to type / then 195 than to have to constantly think of the offset, which may be different for different projects. It would also mean that if they see you fixing a MIDI note at bar 23 on your screen, they should be able to look at bar 23 on their score to know where we're at.

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ah, makes sense. am so used to starting on measure 2 (unless i need a longer pickup), i tend to think of '2' as 'start'....

That's fine if you work on your own, but when you have a musician, a director, an orchestrator looking over your shoulder who wants to go to bar 195, it would be easy to be able to type / then 195 than to have to constantly think of the offset, which may be different for different projects. It would also mean that if they see you fixing a MIDI note at bar 23 on your screen, they should be able to look at bar 23 on their score to know where we're at.

 

i never work with a score, but i totally get this. & when i do film work, everything is referenced to smpte...

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I've been using negative bar numbers for 20 years and lived to tell about it. :)
Some likes to live dangerously... :wink:

 

DANgerously...

 

For a while I tried using a one measure offset to start all things on measure #2. But I found the issues dealing with scores and recording with the constant offset annoying. Maybe if I lived with it for a while, I'd get used to it. But after 25 years and thousands of professional productions, I feel safe in using negative bar numbers. I get pick ups, two pops, preroll, controller info etc. all before beat one. And when I go to measure 25 in my sequence...the musicians are also at measure 25 on their parts. Shocking I know...:)

I start ALL my bounces/stems before measure #1 with no problems.

 

That said, If you can live with the offset between the sequencer and score, then who needs negative bar numbers? BTW, is Logic the only platform with this quirk?

 

DanRad

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