My workflow goes something like,
Flash Transit - dumping ground for all files from the sd cards.
Project Name/Originals -original media.
Project Name - general dumping ground for the edit.
Project Name/Master - final render
Its a system of transiting files from the storage media to harddrive, a wor=
king set of files
followed by the final master. The thing to keep in mind is any effects or p=
lugins you use
may not be available in the future so its a good idea to also take a screen=
grab of the setup and dump that in the master folder together with the fin=
Everyone will have a different workflow.
"Given the quality of mics within my budget" - drop me a mail that can be i=
--- In Keith Smith <> wrote:
> Thanks to all who have responded so far.
> I'm running into a few wrinkles as I work through this and they are cause=
> in the main, by how I have dealt with post work.
> I'm assuming one keeps a mother lode of transferred files that remains
> separate from any other commercial or multi-track projects,say,
> StereoTranfers\Date\Subject (or whatever).
> Given the quality of mics within my budget, most quiet nature recordings
> need at least a little noise reduction. Also, most files need to be toppe=
> and tailed to remove extraneous noises or chopped to just extract the bes=
> bits, and rendered to a new file -or maybe you just trim the originals?
> Depending on the purpose, one may also find themselves creating a composi=
> of several files rendered to a new one.
> Now we have 'derivatives' that need to be cataloged consistently, and alo=
> the way, we've probably created and used copies of the originals. Sooo...
> Say you're editing in Reaper, Logic, Audacity, whatever:
> Do you Move, or do you Copy source files into the Editors project folder?
> Or do you have the Editor reference the originals 'in situ'?
> Do you Move, or do you Copy the 'derivatives' to new place for cataloging
> or leave them in the editors project folder?
> Do you attempt to account for copied source files in your catalog -given
> that they will show up with a system search, and may be confusing? Perha=
> you keep your transfers on a completely separate drive from the Editor wo=
> Do you too, have a pile of audio detritus laying around your disks that y=
> just can't delete, but you never get around to sorting out?
> On Sat, Nov 17, 2012 at 5:37 PM, Avocet <> wrote:
> > **
> > > For those of you who categorize according to subject, how do you
> > > define the actual subject? Most of my recordings can fit into at
> > > least several easily identifiable subject categories,
> > Scott,
> > This is a tree stucture of categories and sub-cateogories. As I wrote
> > before, I keep my original material in day/date order, but
> > increasingly I am using shortcuts to cross-reference them. So bird
> > recordings could have shortcuts in a <bird> folder, but they could
> > also be listed as type of call, or seasonal. A more sophisticated
> > system could put the shortcuts in a database. The trick is to keep the
> > large data file only in one place.
> > David
> > David Brinicombe
> > North Devon, UK
> > Cogito cogito ergo cogito sum - Ambrose Bierce
> Keith Smith
> Keith Smith Trio, Northern Lights =96 Altai Khangai - www.keithsmith.ca
> Photography - www.mymountains.ca