You know that feeling when you get an email that says “Can we go back to the mix from three weeks ago?”
We’ve all been there. Making multiple versions of a mix until we are happy, then sending it off to the client and entering a rigorous round of revisions, only to hear back from the artist two months later that they need a change for a tv spot, but it has to be made to the first version of the mix you sent. All of these different versions can get confusing and nearly impossible to keep track of, let alone communicate. Fab Dupont shows you how he deals with multiple versions of a mix and explains his versioning system that makes communication and recalls a breeze, saving you hours of frustration.
In this tutorial, you’ll learn how to:
Organize multiple versions of the same project
Communicate efficiently and clearly with clients when discussing versions
Save time looking for previous project states
Recall your previous work from multiple points of the project's lifespan.
Save frustration when clients want to revert or refer to another mix
Learn the nomenclature that Fab uses and create a system that works best for your workflow.
00:00:00 Good morning, children!
Today, we're going to talk about
versioning.
00:00:05 Let's do it again.
00:00:06 Good morning, children!
Today we're gonna talk
about versioning.
00:00:09 And one more time.
00:00:10 Good morning, children!
Today, we're gonna talk about..
00:00:13 ..versioning!
And, one more.
00:00:15 Gooood morning, children?!
Today.. no, that's too much!
Good morning children today
we're gonna talk about
versioning.
00:00:22 Now, what was your favorite
one of these.. how many intros?
We don't know, it went too fast.
00:00:28 Did you like the first one?
Or the second one, was the second one
the one where I stumbled?
I am not sure, maybe it was
the third one..
00:00:34 Was it the fourth one?
I don't know! We should have taken
notes, or maybe..
00:00:38 ..have a system!
Let's talk about the system.
00:00:48 As you may have noticed from our
intro:
you need versioning in your life.
00:00:53 Your life is not the same
without versioning.
00:00:55 The reason for that, namely in music,
is
when you have your drummer
or your
singer, or your drummer's girlfriend
or your drummer's girlfriend's dog
asking you
for a version from six months ago
that they love!
But he can't tell you exactly
what version it is.
00:01:10 It's that version with
'that thing did that, in that
section'.
00:01:13 They don't even know which
section is which.
00:01:15 So you have
no way to know what they're
talking you about, because
there's no common naming system
for your work.
00:01:22 Most of the time
without a version system, that
would never happen to me..
00:01:26 ..no!
But say, if you were to work without
a versioning system,
you will spend more time trying
to figure out
what the problem is on which session
rather than fixing the problem itself.
00:01:36 Consequently, you must version.
00:01:39 There are two,
2,
known versioning system to
my mankind
at this point in my life, today.
00:01:46 One is number-based
and one is date-based.
00:01:50 Now that we know why
versions matter
let's look into my system:
the number system.
00:01:55 The simplest way of
versioning is to give a serial number
and I know that it sounds
a little technical
but give a serial number to your work.
00:02:04 Here's my persona serial number
system.
00:02:06 You can make up your own, but
it uses numbers and those tend to be
fairly standard across cultures.
00:02:12 My number 1 mix is 1.0
Why 1.0 and not just 1?
Well, because if you increment from 1.0
it goes: 1.0,
1.1, 1.2, 1.3 etc.
00:02:24 So,
if you recall a mix
or production 9 times
you will give that file back to your
singer
or a singer's girlfriend's dog
with number 1.9,
as opposed to 'number 9'.
00:02:39 It doesn't reflect very well on you
to give 9 versions of the same song.
00:02:43 But 1.9 really feels like the first
version.
00:02:46 Trust me: it works.
00:02:49 Once you have your system in place
you can adopt your own conventions.
00:02:52 For example:
I was just on the record
and in general
my mixes go from 1.1
to 1.5.
00:03:00 If I cross the 1.5
threshold..
00:03:03 ..five recalls on a mix, that means
that
somebody was not clear about
what he needed.
00:03:08 Or I have the flu. Either of
the two.
00:03:10 Most of the time somebody
was not clear what they needed.
00:03:13 But sometimes, someone comes in and it
just happened on a record I just did
that was at 1.5, I think,
and the label comes in and says:
'you know what?
We liked the demo better.'
'Great job, Fab!
Congratulations on your
skill set.'
But then I went back and listened
to the demo and I was like: 'ha!'
The demo is 2 BPM faster
than the
version we did together, live.
00:03:37 So what I did do?
Esatto: recalled my session
and I moved the tempo up 2 BPM.
00:03:41 Now, that qualifies as a major change
in the song.
00:03:45 I would never increment 1.5 to 1.6
if I am going to change the tempo
and re-track vocals.
00:03:50 So at that point, when I have a major
change in the song
I go to 2.0
So, I would have 1.1, .2, .3, .4, .5
and then it would start at 2.0,
2.1, 2.2, 2.3, 2.4,
etc. etc.
00:04:03 That's a convention I have for myself,
you can make up your own.
00:04:07 What I am gonna do now, is I'm gonna
show you how to do it, in real time
and also, I'm gonna show you a couple
folders of real sessions
so you see what it looks like,
at the end of a whole project.
00:04:16 I'm going to create a new
Pro Tools session
and we'll call it:
'Versioning
pardon!
FabMix'
So, conventional wisdom
and the last four minutes of this video
will have you know that I should say:
'Versioning FabMix 1.0'
but I am not doing that!
Let me show you why.
00:04:40 So, I create my folder, I'm gonna
create it on the desktop,
so you can see what's happening..
00:04:47 ..there you go.
00:04:48 Now we're gonna go back to the
desktop
and show you
this folder, called:
'Versioning FabMix'
If you notice, the name of the session
that I chose:
'Versioning FabMix'
is also the name of the folder
that Pro Tools creates.
00:05:04 Which means that if I had
called the session:
'Versioning FabMix 1.0',
the folder would be called:
'Versioning FabMix 1.0'
which doesn't bode well,
say if you have an assistant
or girlfriend who's looking through
your stuff
and he's trying to find version 1.5
of this mix,
that person being logical,
especially your girlfriend
would not go into the 1.0 folder
to look for the 1.5 version.
00:05:27 Consequently, what I do
is: I name my session
without a serial number,
at first.
00:05:32 That way the folder is created
virgin of any serial number.
Then,
I do my kitchen work. Maybe I open
some of my template
and then, when I am ready to mix,
I do a 'Save As'
and I call it '1.0' in the same folder.
00:05:46 So now, if you look back at my folder,
I have the FabMix, which is virgin,
the source,
the mother-of-all-mothers
and then
there's the 1.0.
00:05:55 At the end of the day,
when I am done mixing for today,
I bounce.
00:06:01 Or I print.
00:06:03 No matter what happens
if I am exhausted,
if World War III has begun,
it doesn't matter:
I print the work of the day.
00:06:10 World War III can wait.
00:06:12 And I export that work of the day
and I put it in a folder,
inside here, called 'Bounces'.
00:06:19 There you go!
And in this 'Bounces' folder,
I will store
the mix of the day
and I am gonna name it, guess what:
the same as the session!
So, for example:
I don't have any tracks in here, let's
change that.. it's a disgrace.
00:06:35 Let's create some noise..
00:06:39 ..there you go.
00:06:40 Pouf.
00:06:42 Voilà, that's my mix for the day.
Ok?
And, I am gonna call it:
'Versioning
FabMix 1.0'
And then I'm gonna export that
and I'm gonna store that
into my 'Bounces' folder
inside the 'Versioning' folder.
00:07:01 Fabulous.
00:07:02 When I'll come back in the morning,
the first thing I do, no matter what,
even if there is a truce in
World War III,
I 'Save As'
and I call it:
'1.1'
and I save in the same folder.
00:07:14 So now, if you go here:
you see that I have '1.0'
and then I have '1.1'
1.0 is what I did yesterday,
1.1 is what I'm doing, today.
00:07:23 If I wanna hear
what I did yesterday without
opening Pro Tools
I can go in the 'Bounces' folder
and it's right there.
00:07:28 Because I never fail to do it.
00:07:30 At the end of the second day,
let's say this is my work
for the second day,
I will export again
and I will call it..
00:07:38 ..you named it..
00:07:39 yourself, in your head:
'Versioning
FabMix
1.1'
and, these two, now match, I export it,
I'll put in the same folder
Poum.
00:07:50 And now I have a full history
as a stereo bounce file
and a full history as a session file.
00:07:56 That makes sense?
Great!
Now, what happens
if you need to do a version
in the middle of the day.
00:08:03 [makes a sound]
Imagine for example that the dog
comes in
and says: 'Oh, we're gonna loose
that third verse.'
So now, you're changing the structure
of the song
so, from what I said earlier, you could
call it: '2.0'
but it's not really a '2.0' mixing-wise.
00:08:16 You're in the middle of the day,
you know he's gonna keep going
and you're gonna do it again, tomorrow.
It's just like a structure change or
maybe an alternate ending or
something like that.
00:08:23 So you can't really fully '2.0' it,
that would be a little nuclear..
00:08:27 ..you can't really keep it the same
number
because then
if you want to go back
with the same mix
but with the original structure:
you're screwed.
00:08:36 You have to do a version.
So, what I do
in those cases
is: I introduce letters.
So, for example, say this was
the middle of the day and
I decide that
this verse is gone, and then I do
some surgery, like this,
and I put it back together,
boom.
00:08:48 And now, this is my new version,
what I do is, I do a 'Save As'
and I call it '1.1A'.
00:08:55 Because I have 26 options.
00:08:57 And if you need 26 options
to get to where I need to be
you need to switch careers.
00:09:02 So, 1.1A
and then, at the end of the day,
I will export
into the 'Bounces' folder.
00:09:09 So I will call it:
'Versioning
1.1A'
Boom. And export it to the
'Bounces' folder.
00:09:19 Let's switch to the desktop.
Okay.
00:09:21 Now, you see: I made a mistake..
I forgot 'FabMix'.
00:09:23 It's really important that
you should have the name..
00:09:26 be super-consistent,
so that you can tell the chronological
order
because the idea of naming the serial
numbers,
it means that, if you don't screw up,
like I just did,
you will always be able to tell
the chronological order
of the files, no matter what
sorting system you're using
into MacOS
or Windows, if that's what
you're into.
00:09:43 That is another advantage of the
serial number system, is you can tell
from the name
the chronological order of what
happened.
00:09:50 From other ways, even with dates
sometimes, you'll see,
visually, it's a mess.
00:09:55 So, that's why I stick to this one.
00:09:57 Side note:
with this option,
naming A, B, C..
00:10:02 different versions during the day,
you can call it
v1, v2, I just wanna
really separate numbers
and letters, myself.
00:10:08 It could be that you work on the 1.2
the whole day
and then somebody says:
'No, we're gonna cut that third verse'
and then you call it '1.2A'
and then, in your 'Bounces' folder,
there is no 1.2
because you're not gonna take
the time to bounce 1.2
before you create 1.2A.
00:10:24 So maybe at the end of the day you'll
only have 1.2A in your 'Bounces' folder
..but!
If the A&R of the label comes back
and says: 'where's my third verse?!'
it's super easy for you to get back to
1.2, print it and send it to him.
00:10:37 That is beauty, right there!
To summarize:
I use a number-based system.
00:10:43 1.x
x, x, etc.
00:10:48 When I create my first session
I do not
implement the serial number, so that
the folder name
doesn't get polluted by
the serial number.
00:10:55 I will increment the serial number
every time I bounce.
00:10:57 That's my rule.
00:10:59 So, usually at the end of the day,
I bounce or at the end of the mix
of that
song.
00:11:04 I could be mixing 2 songs a day
so I will have the 1.1 from one song
and the 1.1 from the other song
that is still one mix.
00:11:11 The next thing, when I come back,
I open the same session,
immediately 'Save' it 'As'..
00:11:15 with a .1 increment.
00:11:17 If I am at .1, it becomes a .2,
etc. etc.
I'll let you do the math.
00:11:22 If there are small changes
like
changing an intro, changing an outro,
a drastic automation change
or some versioning and I wanna be
able to
keep both versions as options,
together, to present to the client,
I will increment with a small letter.
Like 1.1A.
00:11:38 If there is a major change in the song,
change of key,
change of singer,
change of drummer,
then I will implement a '2.0'
to signify: 'Yo! This is a lot of work,
there's no going back on the 2.0, this
is a different version of the song.'
Of course, if the project is complicated
enough
that my original version is already
at 1.9
the 2.0 won't seem that drastic,
so maybe
you want to go to a 10.0,
that's your call.
00:12:05 Now, let's look at some real-life
folders.
00:12:08 I have here
a really nice singer from the '60,
named David Crosby,
sweet guy, good singer!
Good writer!
So this is the actual folder
from the
actual
session from David Crosby's actual
record.
00:12:22 This is what it took to get
to that point.
00:12:24 This is the first song of the record,
called: 'Things We Do For Love',
you can see
I have the bounces folder highlighted,
you can see all the different versions
and then you can see all the
Pro Tools sessions, right here.
00:12:35 Notice here, down here, these three:
v1.1, 1.2, 1.3..
00:12:40 these are the production sessions,
these are what we tracked.
00:12:43 And then, when I started mixing,
I put my name on it
so that, you know, I can be the one
screamed at, if it's not good
and then I started incrementing.
00:12:50 You can see here, there's a 1.7A
and you can see here in the 'Bounces'
folder that
1.7 was not printed
but 1.7A was.
00:12:59 That means that, half way through the
day, somebody,
either Michael League or David
Crosby said: 'Hey, can we try
that?'
And I was like: 'yeah, right.. we can
try that'. Discretely saved as
1.7A
so that I could get back to 1.7
without having to tell them:
'Ah no! We can't get back there.'
But, it still felt like the work
of the day
and it's nuzzled in-between
1.6 and 1.8
so the sequential nature of it
stays the same.
00:13:25 You'll also note that this project
was complicated enough
that we got to 2.1 without
any major change, because
there's no break in the numbers,
here.
00:13:32 So this is one of those
complicated records.
00:13:35 Because it was decided it was gonna
be the single
it got extra scrutiny and
maybe I would re-open it
between 1.8 and 1.9 and change
the vocal up
0.1dB..
00:13:45 ..but since it was a different day
I had to increment it, to be able to
tell David: 'Hey David, what's the
number at the end of the mix you like?'
and he said: 'Ah, it says 1.9'
'Got you!'
All right, and see that here we had
some problems: 'Glitch Check'
so apparently there was a glitch.
00:14:00 And then I printed instrumentals,
then I printed the mix stems so that
you people on pureMix can listen
to this song
and then I printed some reference mix
and then
I did a Sound on Sound article,
that's the session I used for that
etc. etc.
So as you can see
everything is labeled on the session
but..
00:14:19 ..the bounces are only the bounces
that I imported for the record
so the instrumental session..
00:14:24 ..here, you have, the instrumental mix.
00:14:27 Does that make sense?
[makes a sound]
It's a good system!
It never failed me.
00:14:31 So now let's talk about the
date-based system.
00:14:34 Why am I not using a date-based
system, because the
date-based system is
pretty solid, considering that
the date
tends to be a pretty-known
entity that is not negotiable:
tomorrow is another day.
00:14:46 Good name for a movie!
So,
let me show you how it's done
and then let me show you why
I don't do it
myself, but it could work for you.
00:14:56 This is a folder from a record for a
band called 'Shady Brothers'
that I produced, recorded and mixed
here at Flux.
00:15:03 Song's name is 'Love is a Healing Place'
as you can tell from all the
'Love is a Healing Place'.
00:15:07 About dyslexia:
you have to be careful to really
watch your naming, so that when you
look at the folder everything's in order
if you invert two letters,
then everything goes to hell
because maybe, you know..
00:15:18 'Olve is a healing place' and your
main version is not gonna be
in line, because you inverted the first
2 letters, which I do on a regular basis
so, you have to be extra super careful
about how you name your stuff
so everything falls in place.
00:15:29 In this particular case, if you look
and pay attention
you'll see
that the production side:
'FabProd'
is done with dates!
And you'll notice that I started with
'3162017'
and then I went to '3172017'
and then I said: 'Uuh!'
The kids didn't understand
that naming system, because they're
not American!
And if you're not American you don't
understand
'03 17 2017'
and since I work with international
people
- I would say half the time -
whenever we use a number-based system
they would understand, and I use
a date-based system
with the dates in American
they would not understand, especially
since in Europe, they invert
the month and
the day.
So you would send
a version to someone and he says:
'You did this last month?!'
'No, no! I did this today!'
So it was a real big source of
confusion
You know, there's nothing that looks
more February 1st
than January 2nd.
00:16:26 If you invert the first two days
and that is a bloody mess.
00:16:28 So I said: 'Ok, guys!
This is confusing you and you're
getting stressed,
not my point! Let me switch
to a more explicit number-system.'
'March 20 2017'
Now, if you look at the length
of this name,
'Love is a Healing Place FabProd
March 22 2017
Vox OD
.ptx'.
If you look at this on a
small screen, like on a laptop,
or if you look at it on your phone when
you're trying to look for the version
you can never tell where the name is
because it's too long
because your screen will not display
the entire name,
you'll see something like this:
And that's not super-readable!
That is why I no longer use
the date system, it's because
of this compression and because
if I use shortened names for
the dates
then people in Europe don't understand,
people who only speak Spanish
don't understand,
it's a mess.
00:17:21 Everybody understands 1.1, 1.0,
1.3 etc. etc. etc.
00:17:26 So in this case
..I..
00:17:29 ..insisted on using the date-system.
00:17:31 Up until the production
and then I switched
back to my normal system, because
I was tired of explaining which version
was what
and they couldn't see the name on
their little phones and stuff like that.
00:17:42 All that said and done
there is at least one
good situation in which you should use
the date-based system.
00:17:50 Imagine you're mastering a record
with five songs in it
and you're gonna use
my serial number system,
so for example:
'Michael Jackson
Revival
Master
1.0'
I have that session and I have
5 songs in it.
00:18:05 And I master the 5 songs
and each song
is gonna have a serial number.
00:18:09 So, 'Billie Jean Remaster
1.0'
etc. etc.
and I export all those songs.
00:18:16 Good!
So, now, the day after Michael calls
and says:
[in Michael Jackson's voice]
'Fab, Billie Jean's a little loud!'
And you're like: 'Ok! No problem!' You
re-open that session, you 'Save' it 'As'
'1.1'
so now you have your
'Michael Jackson
Revival Master 1.1'
inside that session if you have
5 songs.
00:18:32 They all say 1.0,
that's the beginning of the end,
right there.
00:18:36 So you recall Billie Jean and you
take it down
so now in that 1.1 mastering
session
you have Billie Jean 1.1
but you have Thriller 1.0
and etc. etc.
00:18:45 So which is which
and where you're gonna go find
that 1.0
of Thriller
when you have a 1.1 or 1.2
master session.
00:18:55 That's not gonna work!
The solution to that problem
is to use a date system
for multi-song or cross-song
sessions.
00:19:02 So now, what I do when
I master a record,
I'll always save the session
with the date and I save it
in full name
no matter what, because it's really
rare that you share
mastering sessions
themselves.
00:19:15 Let's say I'm mastering
Michael's Revival
record, March 1st. I will create
a session
that says:
'Michael Revival Master
March 1st 2017'
and then in that session
I will master my work and I will have
Billie Jean 1.0,
Thriller 1.0 and Beat it 1.0.
00:19:34 Tomorrow, after Michael calls me
I will re-open that and I will call it:
'March 2nd
2017'
and at that point,
in March 2nd 2017
I still have Billie Jean 1.0,
I do my recall
and I have Billie Jean 1.1,
Beat It 1.0, etc. etc.
00:19:50 So now I am dissociating the
name of the session
from the name of what's inside
the session,
should the name of what's inside
the session matter
to the outside world and that's the
way to do it
when you have multiple sessions
or when the name of what's
in the session, if you're doing remixes
or stuff like that
matters to the person you're gonna
deliver to.
00:20:09 [makes a sound]
One more thing:
The whole point
why we devise a versioning system
is for you to be able to efficiently
communicate
with the outside world.
00:20:18 And keep your sanity.
00:20:19 But mostly communicate
with the outside world.
00:20:21 So,
you're gonna have to deliver
these mixes.
00:20:25 You're gonna have to let people peak
into your workflow and
how fast you mix and stuff like that.
00:20:31 In the past would send mixes via
email
and they would send 3-4 mixes
in one email.
00:20:37 Three months down the road
you're bound to get
like an insane amount of questions
about
'where was that mix and when did you
send it to me?
I can't find it!' and everything. So,
thing no.1, if you're gonna use email:
send one song
per email, don't gang them up!
Send one song per email and put
the name of the song in the title
with the version number of the mix
in the title
which means that, if they do a search,
in their email, they will find it
instantly.
00:21:01 Number 1) save yourself lots of
re-sending
and looking for files and stuff like
that.
00:21:06 One song per email!
That's it. MP3 is fine.
00:21:11 Second:
if you're gonna let people peek
into your Dropbox or Box folder
make a special folder for the mix
delivery.
00:21:18 Don't let these people have access
to your
source mix folder. They will
erase stuff,
they will rename stuff,
they will comment on it,
don't let it happen!
The way you do things, like
I'm gonna show you,
I just finished mixing the
Eliades Ochoa
from Buena Vista Social Club
record,
here's what I do, in all my mixes
now:
I have a mix progress folder
and I put it by days.
00:21:41 Day 1
Day 2
and then the June 13 mixes, those
were very special mixes
because that was the last day
and then I put all the mixes
in here. These are
exact copies
of the source mixes from the bounces
folders in
all those. For example, let's see
'Así es la naturaleza' I don't know how
you say it
because I don't speak Spanish, yet.
Working on it.
00:22:03 And you can see here, all the
different versions.
00:22:06 But I copied the latest version
and I put it in the mix progress
folder
on the June 13 mixes.
00:22:11 And every time I've a newer version
I put the whole record in there.
00:22:14 Even though I will have the same file
in two folders next to each other
that allows me to tell people:
'Here's your record today',
'Here's your record today',
'Here's your record today',
no matter what the day is
without them having to go look for
different versions in different folders.
00:22:27 If you do that, people will love you.
00:22:29 And when they love you, well.. you know:
they love you.
00:22:31 In summary:
you don't have to do what I do,
but you need a versioning system.
00:22:36 I went 1.0,
1.1,
maybe I am a little geeky. You can do:
Catherine.Bob,
Catherine.Catherine,
Catherine.Jennifer,
that could be your system!
It's your problem,
I don't have to tell you what it is!
But as long as it's sequential,
as long as it's
recognized by the computer
as a sequential thing,
very important because you tend to use
a computer to make music, these days,
and as long as other people will
understand it,
that's your system
and you stick to it.
It will save you hours
and hours of your life.
00:23:07 Et voilà!
Once logged in, you will be able to read all the transcripts jump around in the video.
Fab Dupont is a Grammy winning NYC based record producer, mixing/mastering engineer and co-founder of pureMix.net.
Fab has been playing, writing, producing and mixing music both live and in studios all over the world. He's worked in cities like Paris, Boston, Brussels, Stockholm, London and New York just to name a few.
He has his own studio called FLUX Studios in the East Village of New York City.
Fab has been nominated for Grammys 6 times, including two Latin Grammys and has received many other accolades around the world, including Victoires de la Musique, South African Music awards, Pan African Music Awards and US independent music awards.
Great video Fab. It's really interesting to see another engineers hierarchy system. thanks!
ahmetroxen
2019 Jan 20
Great and funny intro :))
DRocksRecords
2018 Aug 21
Good video. I've been implementing a similar system too because like you said its really essential to keep track of mixes. You showed a very well explained way of doing it and it confirms I'm doing the right thing when keeping organized with versioning. thanks
zumbawithcindy@gmail.com
2018 Apr 08
I LOVE Fabs system! I do make a master folder - Then revs something like songname_dd/mm/yy_a the next being (b) then c, etc with each save as - Putting the date in tells me when I worked on that version - Is that necessary? I dummo maybe not. But using my version (and why I am going to switch to Fabs) is you are stepping through the alphabet for each version - That get messy. So..... I shall henceforth and herewith, use Fabs FAHBULOUS DAHLING! versioning. Also I have been been supremely lazy in not doing a bounce per version - I shall be lazy no more!
kuzeyyildirim
2018 Feb 12
Thanks Fab! This will be very useful and a way to improve our working system.
Drmudler
2018 Jan 22
I just love Fab's tutorials. Probably my favourite teacher ever! Funny and transparent on his teachings. Always feels like he puts himself in the shoe of the student making it really easy to learn. Plus he's hilarious gotta love him! Thanks Fab! ps: More tutorials from you please!
owenlt
2018 Jan 20
Here's what I learned from watching the intro (and having spent the last two weekends making acoustic panels): even the pros at Flux have ripples around the edges of their fabric! Can't tell you how much better that makes me feel ...
pearlpassion
2018 Jan 09
Excellent tutorial that made huge sense to me. Opened my eyes for potential disaster when dealing with everyday files. Thanks Fab.
soupiraille
2018 Jan 08
Interesting and useful. Actually the date format "year month day" is universal, this format is understood in America, Europe, Asia, everywhere. Like 2018.01.09 works very fine. A bit longer than 1.x but hey, it works.
G.MICHAELHALL
2018 Jan 08
Great explanation of what really is the most logical approach to file indexing. I sometimes add the letter "R" when I have a revision that is based on artist/client direct instructions, I don't use capital R for anything else, I see it and I know what it means. I'm going to start doing a version correlating daily bounce based on this tute, that makes alot of sense to me eh. Thanks @fabdupont excellent presentation x✌️
