[Darren Edwards]

Ah, I forgot about the Trapcode People archive. But like I
said, I may end up doing it the hard way (because I sure
ain’t given the client a copy of Trapcode for free) – so
cheers Mark for your input too.

Darren.

myspace.com/xgfmedia

[Darren Edwards]

I said ‘midi isn’t as important anymore’. It isn’t as important
anymore because one of the reasons – one of the big reasons –
musicians (inc. myself) would daisychain midi devices together
was because we couldn’t afford hardware which would allow is to
record mostly in .WAV – but then, towards the end of the 90s,
prices started tumbling and things began to change. MIDI is still
a great way to record/perform, but a pain in the arse when it
goes inexplicably wrong. Although, I bet the musos who’ve sworn
an oath to their beloved Atari STs, will be using them until the
cows come home, bless ’em. 🙂

Darren.

myspace.com/xgfmedia

[Darren Edwards]

The -6dB/-1.5dB standards are pre-digital ones, of course, but it’s
still useful advice, I think, for people upgrading their audio suites
to something more pro like Audition. It’s also useful for people who are
being encouraged to get into audio production because they want to pod-
and vodcast. There’s some truly great pod/vodcasts out there absolutely
shattered by the rubbish audio. Lest we forget that, for all the
progressive leaps and bounds in audio production we’re afforded by
HD broadcasting and state-of-art hardware, there’s an equal shift
in low-def towards new media which is broadcast via mobile phones
and PSPs, whose tiny, tinny speakers require even more modest mixing.

I’m not going to quibble about the differences of a noise gate and an
audio limiter, because by definition a noise gate is an audio limiter.

Darren.

myspace.com/xgfmedia

[Darren Edwards]

A ‘producing for TV’ tip:

The majority of folks still have standard TVs housing
standard (aka, poor quality) speakers, which don’t like
spikey audio above a certain level. When mastering your
audio for television output try to keep it under -1.5dB.

An easy way of doing this is to highlight your entire
final mix, select Effects/Amplitude/Hard Limiting (aka
a noise gate) and program:

Limit Max Amplitude: -1.5dB
Boost Output: 0dB
[The rest of your options are not too important.]

Just for the record: the general standard for audio destined
for the film screen output is -6dB, although digital HD screens
will change all of this eventually.

—

Edited a wedding video (using Audition) for a BBC friend once.
Most boring two days of my life.

Cheers,
Darren.

x-gf.com

[Darren Edwards]

I think the answer to this is really complex, because I’ve
been following all the ‘optimal settings for cache’ advice
for years, from people here, at Adobe (forums), and from
Syntrillium, but unfortunately, my Audition still isn’t rock
solid when it comes to video in the multitracker.

Regardless of file size, or my PC’s power, almost every sync
session will start to lag after an hour or so. You could try
reducing the video quality to ‘low’ but I haven’t found it
made much overall difference. If it’s not working at all in
2.0, you need to make a few noises about it at the Adode Forums.

Good luck,
Darren.

x-gf.com

[Darren Edwards]

I’ve been recording/mastering/remixing tracks with CEP/Audition
since the (much missed) mp3.com days, circa 2000. 7 years on,
after learning Pro Tools, Logic, Cubase and HD production, Audition
is still the first tool of choice, especially now that midi isn’t
as important anymore.

Us CEP diehards were worried that the user support Syntrillium
forums provided would be a big loss when Adobe bought their product,
but places like CC more than make up for it.

Logic is more than a match for Audition, but it does possess a rather
love-it-or-hate-it user interfce. Pro Tools will be de riguer in pro
post-production studios for a long time, though.

Darren.

x-gf.com

[Darren Edwards]

I had better luck when editing the clip using FFT Filters.
Begin with something like ‘Telephone – Voice Mail’ preset
and tweak/create edit points at around the 1760 – 3520 Hz.

Darren.

x-gf.com

[Darren Edwards]

In addition…
When you’re happy with the results, run a noise gate on it.
Increase volume by (for example) +2db but keep the limit
to -1db (just in case). -1db is television standard, -6db
is film.

Whether it’s vocal or music, experimenting with the noise
gate can result in horrible-sounding clipping, so watch out
for that.

Darren.

x-gf.com

[Darren Edwards]

AE’s time-mapping is a more sophisticated tool, especially on
action shots like the one you exampled at U2B. There are
some excellent tutorials scattered CC to do with using time-
mapping.

Adobe says that time-mapping will possible with PProCS3
https://www.adobe.com/products/premiere/slowmotion/

Darren.

x-gf.com

[Darren Edwards]

You’re welcome.

I’ll leave them online for 24hrs or so incase they’re of use to
anyone else. People can always ask either of us personally for
them, at a later time, I supppose.

Darren.

x-gf.com