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Why no razor blades on simple interface audio editors?
Aloha all!
I’m frustrated. I have a recurring project in which I record a two hour radio show then isolate the DJ breaks.
What I want is an audio editor that works the same way an audio track in FCP or Premiere works. I want to look at the waveform, use the playhead to locate points, and use a razor blade to cut them.
Soundtrack and Audition both force you to create a multitrack session before enabling the razor blade or the split command. Why? I can highlight and delete in the simple view, why not razor blade?
Audition, as far as I can tell, doesn’t even have a razor, although I’ve only dabbled in that.
Is there a reason that powerful audio editing tools disable this basic functionality in their “easy” interface?
The difference between theory and reality is that, in theory, there is no difference between theory and reality.
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3 Replies
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Why not just do it in FCP? Assuming you’re working in FCP X, the Core Audio stuff features pristine audio quality and it’s super easy to do audio editing in the magnetic storyline.
Just JKL transport to the cut point, Use Command B to blade the track. Navigate to the point of your next edit and use the Trim to Playhead keystroke Option Right Bracket to magnetically make the edit while the magnetic timeline closes the gap and you’re done.
FCP X is the fastest audio editor I’ve ever used. And it even comes with a host of Logic Pro audio filters including compression, etc. included with the package.
One tool for video AND audio.
Simple is good.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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I certainly could do it in Premiere, or FCP. But part of what I’m hoping is to grow into these more powerful sound-specific applications, learn what they have to offer that my video editors lack. I mean, there’s a reason Audition and Soundtrack exist, right?
On the way to that greater learning, though, I just keep pounding my head against the wall, saying “but WHY???” I assume that the software engineers who developed these programs, and the recording engineers who use them, made the choice to cripple the functionality of the basic mode deliberately. I really, really would like to understand their reasoning. Maybe then I could let it go and just move on.
The difference between theory and reality is that, in theory, there is no difference between theory and reality.
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[Tom Galli] “I mean, there’s a reason Audition and Soundtrack exist, right? “
Generally, that reason was multi-track song style recording where the standard is multi-instrument tracking with the ability to apply channel strip processing suited to a variety of input types along with the patching capabilities required to provide stuff like monitor mixes, sub-mixes, and other stuff that the person recording audio for video typically has little use for.
Audio for video is usually about getting clean dialog recordings plus perhaps a ambient track so you can add room tone back into the mix for realism.
One wouldn’t typically process two dialog voices on the set the same way you’d want to process, say, a bass drum track and a lead vocal track.
My 2 cents, anyway.
Know someone who teaches video editing in elementary school, high school or college? Tell them to check out http://www.StartEditingNow.com – video editing curriculum complete with licensed practice content.
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