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In article ,
Iain Churches wrote:
My own editing experience goes back to splicing 2"
24-track analogue tape. It required a stout heart and a firm
hand to take a Chinagreaph pencil and a razor-blade to the
one and only tape, especially when ten pairs of beady eyes
were watching:-)

Really no different from editing *any* master tape.

--
*I took an IQ test and the results were negative.

Dave Plowman London SW
To e-mail, change noise into sound.

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In article ,
Arny Krueger wrote:
I do use scrubbing when I edit video, but this is mostly because the
video editing software I use does not provide the same quality visual
environment for editing audio that CEP/Audition does. I periodically
export audio from A/V tracks, edit it in CEP, and then put it back,
including restoring lip-synch by hand if necessary.

As a matter of interest which video editing package do you use? I've tried
a few but haven't found the perfect one.

FWIW in the UK ProTools seems to be the editor of choice in the TV field.

Many years ago I was forced to use Soundscape as a dubbing prog. I hated
it at first being used to AudioFile, but quite quickly got to like it.
With some development (and faster hardware) it could have been pretty good
for semi pro use. I *think* it got bought out by Behringer - but a quick
Google shows nothing.

--
*I feel like I'm diagonally parked in a parallel universe*

Dave Plowman London SW
To e-mail, change noise into sound.

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"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
My own editing experience goes back to splicing 2"
24-track analogue tape. It required a stout heart and a firm
hand to take a Chinagreaph pencil and a razor-blade to the
one and only tape, especially when ten pairs of beady eyes
were watching:-)

Really no different from editing *any* master tape.

Except that there is no B master, as is usually the case
with 1/4.

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"Don Pearce" wrote in message
et...
Iain Churches wrote:
"Don Pearce" wrote in message
et...
Iain Churches wrote:
"David Looser" wrote in message
...
"Iain Churches" wrote in message
.fi...
Audio scrub was one of the features added to bring
CEP into line with professional audio editors, hence the
suffix Pro. Conductors and producers are part of the
professional scene.

Part of the professional music-recording-industry scene maybe.
No "maybe". It's a fact:-)
We still need to meet the expectations of the
client/ conductor/producer, even at the editing stage.

My own editing experience goes back to splicing 2"
24-track analogue tape. It required a stout heart and a firm
hand to take a Chinagreaph pencil and a razor-blade to the
one and only tape, especially when ten pairs of beady eyes
were watching:-) I appreciate the multiple layers of undo that
a large digital workstation offers. Two layers would suffice:-)

But it would be nice if you could undo for instance, the change before
last. As it stands if you can only do it on a "last in, first out"
basis. Obviously this can't be done for all edits because they aren't
necessarily linear.

So is there only one level of undo in Audition. Don?

Even the early versions of audio workstations from
Opus, New England Digital, Fairlight etc offered 99 layers.


No, there are many levels (100 I think), but you must go back through them
in the reverse order you applied the changes. You can't select one several
levels back to undo, while leaving more recent ones intact.


Ahaa. Similar to what one does in a word processor then?
That not too good for audio editing. I liked the approach
used by ProDisk which took snapshots of the cue marks
inserted on the sequencer screen, keeping a record of each
edit (EDL edit decision list - compatible with professional
video editing systems) so that you could go back to a particular
point to fix something while still keeping the splices that followed.

In say a twenty edit sequence you could simply click on Cue 6
and Undo for that particular edit. The EDL was a part of the
back-up info, exported to a a diskette or CD-ROM


Iain

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"Iain Churches" wrote in message
. fi...

"David Looser" wrote in message
...

Part of the professional music-recording-industry scene maybe.

No "maybe". It's a fact:-)
We still need to meet the expectations of the
client/ conductor/producer, even at the editing stage.

Well yes, I accept that - for the particular part of the particular industry
you happen to be in. But there are many professional uses of audio editing
software where the client isn't standing over the editor whilst he works.

I maintain that the need for audio scrubbing is a matter of backwards
compatibility with the skills and expectations of those brought-up in the
days of tape editing. When film studios operations changed over from
optical sound recording to using mag film the sound editors hated it, as
they had been used to a visual reference, which was denied them by mag film.
And they had to resort to the inferior method of scrubbing to locate the
edit point.

David.

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"David Looser" wrote in message
...
"Iain Churches" wrote in message
. fi...

"David Looser" wrote in message
...

Part of the professional music-recording-industry scene maybe.

No "maybe". It's a fact:-)
We still need to meet the expectations of the
client/ conductor/producer, even at the editing stage.

Well yes, I accept that - for the particular part of the particular
industry you happen to be in. But there are many professional uses of
audio editing software where the client isn't standing over the editor
whilst he works.

True. Usually one is left in peace with a thermos of coffee
and a good supply of sandwiches to put the project together.

However sometimes when "patches" are made for inclusion in
a long take, there is concern over whether or not the transition in
and out will be seamless, so one has no choice but to try it on
the spot (usually during the lunch break:-)

I maintain that the need for audio scrubbing is a matter of backwards
compatibility with the skills and expectations of those brought-up in the
days of tape editing. When film studios operations changed over from
optical sound recording to using mag film the sound editors hated it, as
they had been used to a visual reference, which was denied them by mag
film. And they had to resort to the inferior method of scrubbing to locate
the edit point.


Agreed. As far as audio editing systems are concerned, the
requirements of operators differ widely. The dedicated prof
workstations, Opus, Fairlight, NED had audio scrub right
from the beginning. It was there, and worked just like a mag
film Steinbeck or Albrecht editing table, but you
did not have to use it, if you didn't want to:-)

It's fun to try to edit without listenining at all.
Just look at the score, see where you think you are on the
sequencer, mark the cue and Cut. The results are usually
surprising:-)

Iain

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"Iain Churches" wrote in message
.fi...


"Malcolm H" wrote in message
...

"Iain Churches" wrote in message
.fi...


"Malcolm H" wrote in message
...
This is a spin-off from an earlier thread in which Graham posted the
following link:

http://www.softpedia.com/get/Multime...Edit-Pro.shtml

Does anybody know how I can get a license for this program at a
sensible
price? I have been a licensed user of Cool Edit 2000 for many years.

Am I missing something here? You state that you have been a
licensed user of CEP2 for many years, and then ask where
you can get a licence.

The licence for CE2000 was purchased from Syntrillium.
I now want a license for CEP2.

OK. Then isn't it time to make contact with those
nice people at Adobe. Not an impersonal e-mail,
but a phone call. Use your English charm and
persuade them that they could exchange your
CE2000 key for a CEP2, as a gesture of
goodwill. Betcha they agree:-)


Syntrillium no longer exists!

Thank you for the suggestion Iain. I have had a phone conversation with the
nice people in Adobe but unfortunately they are unable to give (or sell) me
a key for CEP2.

Cool Edit Pro licensing
 

Dave Plowman (News) wrote:
In article ,
Arny Krueger wrote:
I do use scrubbing when I edit video, but this is mostly because the
video editing software I use does not provide the same quality visual
environment for editing audio that CEP/Audition does. I periodically
export audio from A/V tracks, edit it in CEP, and then put it back,
including restoring lip-synch by hand if necessary.

As a matter of interest which video editing package do you use? I've tried
a few but haven't found the perfect one.

FWIW in the UK ProTools seems to be the editor of choice in the TV field.

Many years ago I was forced to use Soundscape as a dubbing prog. I hated
it at first being used to AudioFile, but quite quickly got to like it.
With some development (and faster hardware) it could have been pretty good
for semi pro use. I *think* it got bought out by Behringer - but a quick
Google shows nothing.


Certainly in the film business, Avid is pretty much the standard. It is
a bit of a hotchpotch and has some file compatibility issues, but
everyone seems to know it.

d

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Malcolm H wrote:

Thank you for the suggestion Iain. I have had a phone conversation with
the nice people in Adobe but unfortunately they are unable to give (or
sell) me a key for CEP2.

Obviously then it's time to register your copy of CEP to Peter
Quistgard... ;-)

--
Squirrel Solutions Ltd Tel: (01453) 845735
http://www.squirrelsolutions.co.uk/ Fax: (01453) 843773

Registered in England: 05877408

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"Glenn Richards" wrote in message
. uk...
Malcolm H wrote:

Thank you for the suggestion Iain. I have had a phone conversation with
the nice people in Adobe but unfortunately they are unable to give (or
sell) me a key for CEP2.

Obviously then it's time to register your copy of CEP to Peter
Quistgard... ;-)

--
Squirrel Solutions Ltd Tel: (01453) 845735
http://www.squirrelsolutions.co.uk/ Fax: (01453) 843773

Registered in England: 05877408

Thank you for that Glenn. A guy called Marco also seems to be very helpful.