Emmett Andrews
Forum Replies Created
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The results may not be great, even with the best quipment and the best restoration engineer. However, take a look at Waves Z-Noise. If you have deep pockets, it might help you out a bit. It can change NR settings over time.
Emmett
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Length: 589ms
Attack: 43ms
HF Absorption Time: 872ms
Perception: 2
Dry: 74%
Wet: 181%Hope that helps!
Emmett
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Probably the best you can do, is highlight the whole session, beginning to end; Then solo and mixdown each track individually (highlighting will mean that the silence is also mixed down, so everything stays in time). Then the other party would simply have to layer all of the mixed tracks in their DAW of choice and everything would be in the correct place.
The other option is a program called EDLconvert Pro. It allows you to convert between different session-types. It will not, however, carry over effects. Just clip (region) placement. Google for it. It isn’t cheap, though.
Hope that helps!
Emmett
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First of all, congrats on dumping that awful SAW program and moving into 2007! 😉
Second, EDL files are exclusive to SAW. They are session files in Audition.
EDL = SES
Save EditList File = Save SessionEmmett
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If you’re working with a single track in Audition, you can use shift+delete to delete from the timeline. Unfortunately, it also deletes anything else that is overlapping in that same time selection. Most people simply do this type of editing in edit view, which will automatically close the gap. I agree though, a “shuffle” function (as it’s called in Pro Tools) would be nice.
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Don’t count on it. Audition was designed to deal with audio, not MIDI. Many users believe that adding sequencing would just clutter the program, and I agree. No single program can be everything to everyone. You’re better off to find a sequencer that works really well and keep Audition for audio editing and multitracking. I’ve talked to several people that use a combination of Audition and Tracktion and really like the combo.
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The short answer is that there’s no software that can extract instruments form a mix. Can you bake a cake and then take the eggs out?
The longer answer is that sometimes you can get the vocals out effectively, using the Center Channel Extractor. It is entirely dependant upon the way the song was mixed.
Radio stations do this in several ways. Often, the record label will send an edit that was made from the original master tracks. When done in-house, the most effective way is usually to find a similar part of the song that has no vocals (like an intro) and replace the offensive part with a snippet of instrumental. When that is not possible, we usually just reverse the word.
Some singles from labels will include acappella and instrumental versions, which is often where DJs get their parts.
Emmett
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No, there’s no workaround. A lot of Audition users pair it with Sonar or Mackie Tracktion. There’s also Reaper, which is free. It’s kind of ugly, but it does the trick.
Good luck!
Emmett
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No, I’m right. Period. I don’t care what some cheap guitar pedal does. I’m sure it is either a full dynamics pedal, or it is simply so cheap that the circuits can’t handle the extended dynamic range, so it is limited to control the S/N ratio. Look at ANY professional dynamics processor that includes an expander/gate or any standalone expander/gate. Talk to any professional. The answer will be the same. And yes, Audition does apply compression when limiting is applied. It has to. All limiters have to. I already told you that a limiter is simply a compressor with an infinate:1 ratio…The Audition hard-limiter adds a lookahead feature, like you would find on most broadcast audio processors. But it is still nothing more than a compressor with an infinate:1 ratio, though pretty much any compressor will be limiting after about 50:1. And a gate is simply an expander with an infinate:1 ratio. Apparently, you still do not “get it” and so you’re taking an amateur approach to speaking with a professional. Get your facts straight…Do some research and then come back and despense advice. It seems to me that you should be the one asking, since you clearly have very limited understanding.
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No it certainly is not. It’s not even close to the same thing, and you should not be despensing advice about things that you obviously do not understand.
A noise gate (or downward expander) removes noise below a defined threshold (NOISE GATE, get it?). It is a form of noise reduction, and does not affect the peak amplitude in the least. Gating, which has a hard ration, is generally used for getting a crack out of a snare, while expansion is commonly used to reduce background noise in more gentle recordings, such as vocals or acoustic guitar. Many voice processors (including my Focusrite Voicemaster Pro) have a downward expander. And again I say, IT DOES NOT EFFECT PEAK:RMS RATIO!
A limiter, on the other hand, is simply a compressor with an infinate:1 ratio, so that no sound exceeds the defined threshold. It reduces the peak/RMS ratio, which increases percieved volume, but reduces dynamic impact.
Expansion and gating are basically the same function, but compression and limiting are completely different from expansion and gating. They do all fall under the category of “Dynamics processing”, and work with similar algorithms, but they are not the same thing at all.
I suggest you do some research before you begin leading people in the wrong direction. There’s no sense in starting someone on the wrong foot.
Emmett