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Classical Editing - A few questions
Old 14 hours ago | Show parent
  #61
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by Yannick ➡️
Yes they are in my workflow.
Yannick, are you using Playlists here in Pyramix to do this?
Old 13 hours ago
  #62
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chrischoir's Avatar
 
🎧 5 years
Quote:
Originally Posted by ajvsbd ➡️
But is it really necessary?
no not necessary

Quote:
Originally Posted by ajvsbd ➡️
is there any function that cannot possibly be done in other software?
yes volume envelopes or simple fade in fade out.
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Old 9 hours ago | Show parent
  #63
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Yannick's Avatar
 
🎧 15 years
Quote:
Originally Posted by David Spearritt ➡️
Yannick, are you using Playlists here in Pyramix to do this?
No, I just duplicate the recording track group into eg. 10 new track group, and collapse them to the mid mic of the MS main array.
While recording a new take, I place the previous one in the right spot, visually. Or right after recording. Whatever takes less time (its only two seconds anyway).

One advantage is, I can immediately tell the group that their new take of movement three (which can be 10 minutes) is only two seconds slower than the previous one. Or I can immediately see some section is significantly faster, and ask what they prefer. No way you can do this when recording more than 6 takes, purely by memory.
Old 6 hours ago | Show parent
  #64
Gear Maniac
 
Here is my method of locating edit points, which I find much more accurate than doing it by eye:

I use a scrubbing mode which in CohlerClassical/Reaper is called
"Jog Audio (looped segment mode)"
(in the Mouse modifiers preferences)

which loops a short segment of Audio (length can be adjusted in the Playback Prefs, mine is set to -88ms to 0ms). Dragging the playback cursor (at a high enough zoom level) lets me seek for the exact edit point (usually just before a transient, so move forward until the transient becomes audible, than move back until it isn't).

I have a rather good success rate finding these edit points without having to adjust them much or at all in the crossfade editor. I estimate that I get about 60-90% of the crossfades exactly right this way, depending on the music and instruments. With harpsichord near 100% (if it doesn't fit it is normally not possible to make it fit), orchestral is often more difficult (but also often less sensitive to placement). Chamber music is sometimes tricky when the instrument's transients are not exactly in sync (and as a musician I work in 19th century performance practice research where synchronisation is not always desired...). But that is a more fundamental problem editing that kind of performance...

Of course this method doesn't help with special crossfades (eg asymmetrical, long), those always need time and care, but it is amazingly accurate for standard 50ms crossfades. I learned to do it this way many years ago in Peak, and when I moved first to Wavelab then to soundBlade I missed this scrubbing mode a lot. Now in CohlerClassical/Reaper the existence of such a tool is a real gift to me.

I have no idea whether this kind of thing is possible in Sequoia, Pyramix or Sadie.
Old 6 hours ago | Show parent
  #65
Gear Maniac
 
Quote:
Originally Posted by ajvsbd ➡️
I also see from other replies that there's a preference for perfection in classical recordings. But doesn't all this excessive editing mean that a performance gets needlessly artificial?
I think a lot depends on defining perfection. In my field (historical performance research) perfection is the most nuanced performance, and that includes things being out of sync, different lengths, "perfect" asynchronous rubato, the unexpected (but not out of balance), varied phrasing, spontaneity. Over-editing such performances often kills them.

Perfection in the sense that everything is accurately performed bores me to death. But that is often what we get. As a producer/editor it is often difficult to keep the best of both. And I agree that younger musicians often seek that kind of perfection, whereas older ones couldn't care less. But that seems pretty logical to me.

And out of experience I can say: don't ever trust a "live performance". I have played on many of those, myself (in the orchestra and as a chamber musician) - I don't think a single one of those was truely live unless it was a direct simultaneous broadcast.

And those "real" ones were by far the best recordings I took part in.
Old 6 hours ago | Show parent
  #66
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by JGebauer ➡️
And those "real" ones were by far the best recordings I took part in.
quoted for emphasis!

i admit i find house keeping (aka editing) by far the most boring aspect of our profession...
Old 5 hours ago | Show parent
  #67
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by deedeeyeah ➡️
quoted for emphasis!

i admit i find house keeping (aka editing) by far the most boring aspect of our profession...
It's hard to edit an amplified live performance that's not recorded !
Old 5 hours ago | Show parent
  #68
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by studer58 ➡️
It's hard to edit an amplified live performance that's not recorded !
you have a talent for always putting my activities in a false light:

(for a variety of reasons that are not up for discussion here,) i vastly prefer to work live and mix direct to 2trk/6trk, whether that's in amplified situations for when going on air from the venue, but it is only the lesser part of my work - unfortunately...
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