#46
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When I realized that everything could be changed at whim and the eq trail was right in front of my face it was a huge moment. It was like seeing a color TV for the first time. (Us old guys know what that means )
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Barry Sad Moments {Marianne Vedral cover}: My SoundCloud page Some steel strings, some nylon. |
#47
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Glad this was helpful. It often just takes a demo to see the possibilities. For my first solo guitar CD, years ago, I used Audition and did everything in destructive mode.
Shortly after, I had a chance to record some stuff in a studio with El McMeen as a producer, using his regular recording engineer. I didn't end up with any keeper tracks, but what I saw the engineer do during editing and mixing was eye-opening, all the non-destructive editing, cross-fading - parts were flying everywhere. One thing that has really stuck with me, aside from just watching the general workflow, was a little trick El suggested in one part, a little arpeggio or something where the timing seemed to be off. Rather than redoing the take, or trying to edit, El asked the engineer to use volume automation to slightly lower the volume of the first note in the lick and ramp up the gain into the last note. Suddenly sounded great. A good lesson that timing, dynamics, phrasing, etc, are all interrelated, but also opened my eyes to what a more serious DAW with an experienced engineer can do. That experience lead me to Logic eventually, which has some astonishing features - for example, I have another video on my channel on the "comping" feature in Logic, showing how to use that for a non-destructive, and very easy, way to edit multiple takes together. Audition doesn't support this, as far as I know, tho I think there are a few other DAWs that do something similar. Logic's "flex-time", where you can stretch and nudge notes to fix timing without (usually) hearing audible artifacts is another really cool feature of Logic. But Audition has plenty of great features, too. BTW, in this demo, I loaded the M-S Bricasti sample, that's actually forces the input to mono, then produces stereo reverb. If I had instead, selected both the L and R impulses, the reverb would have been true stereo, which sounds slightly more spacious. I didn't realize I had that option until I tried it just now. Another trick, if you are trying to tune into reverb is that you can click the pre-post button on the guitar track - right before the send level, to toggle whether the send is before or after the volume control. In "pre", you can mute the guitar track and easily hear just the reverb.
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
#48
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That's impressive. If not for the ability to comp tracks, I'd have released nothing.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#49
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Doug Young's post raises a question that has been at the top of my "gotta figure this out" list for a while now. Here's a quote from his post, (#47).
"If I had instead, selected both the L and R impulses, the reverb would have been true stereo, which sounds slightly more spacious. I didn't realize I had that option until I tried it just now." Fairly recently I loaded a bunch of Samplicity Bricasti M7 IRs into my Space Designer. Each IR comes in three flavours, M to S, L and R. I know what these designations are but how to apply the L (left) and R (right) to a stereo channel confuses me. Do I just set up two sends, each with an instance of the SD, one set to the chosen IR's L option and the other to the R? |
#50
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I think the software I saw being used in the studio was Sequioa, if I recall, and I looked at that, but it seemed convoluted at the time. Then Apple came out with Logic, and it seemed to do all the things I had observed, and things got much easier. But all software's evolved a lot since then, Audition's gotten much more advanced as have they all.
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
#51
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In Audition's convolution verb, it let me multiple-select the L,R files, and you could hear the difference. However, Space Designer won't let me do that. I'm not sure if there's some way I'm missing - maybe. But you could mix the L,R impulses into a new stereo one as a separate step, and presumably load that into Space Designer. impulses are just wav files, so you could open them, pan them hard left and right and save the stereo mix as a new impulse.
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
#52
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#53
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Thru a quirk of destiny in late 2002 or maybe early 2003 I got the chance to record in very high end (we are talking cover of Mix Magazine) Post Production facility in midtown Manhattan running a TDM system , for free . And yes fascinating and a bit overwhelming and led me into getting a Digi 002 in the summer of 2003 ( which was version 6 and as I understand it a pretty big step in increased audio editing and newer looking GUI .
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Ventura 12.2.1 Last edited by KevWind; 04-23-2019 at 08:13 AM. |
#54
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Back to the first post -- that, to me, sounds like Lexicon or a profile of one. Not an 80 or 81, possibly a 91 but most likely a 480L. And there's at least one dry, stereo pingponging delay going on as well. Different, separate effect from the reverb. Sounds nice, in a New Age/ECM sort of way.
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#55
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Cool Edit also had a "lite" version that was shareware. I think that one was only stereo/destructive editing. I was working in a broadcast network back then, with several newsrooms. Cool Edit had a substantial presence in that field in that era. It worked great for those purposes. I too still use Audition 3.01 for some things. I wouldn't claim it's superior to anything out there, but it's a product I've used for a long time and I know how to do things with it that I need to do.
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses.... |
#56
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#57
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