22 Mar
2010
22 Mar
'10
12:05 p.m.
fons(a)kokkinizita.net wrote:
On Fri, Mar 19, 2010 at 10:54:24PM +0100, Ralf Mardorf
wrote:
Full ACK and in addition I would use a subgroup for the channel of the
regular track and for the channel of the track of the copied fragment.
Even if heavy mixing is required, e.g. for an audio collage I guess it's
more musical to do such heavy mixing with an external (not necessarily
analogue) mixing console.
Some kind of heavy mixing for current chart music needs automation that
isn't possible by Linux now, if this is needed it can be done by
recording the different mixes and then by piecing together this
recordings, because this kind of music itself is pieced together.
No doubt about it, it would be good to have automation similar to the
automation by proprietary MacOS and Windows applications, but to be
fair, on MacOS and Windows this usually is done by all-in-one
applications and not the modular way. E.g. muting and unmuting reverb
etc. is harder to "automate" by Linux using several applications. IMO
such effect mixing isn't done very often, just for a few songs and there
are several tricks to avoid the need of automation. Perfect automation
is useful, but not needed.
Ralf
fons(a)kokkinizita.net wrote:
That's certainly true for most of the music I love,
but OTOH in practice as an audio engineer you are
supposed to solve problems created by circumstances
out of your control. If a singer wants to redo one
phrase of song and it ends up being a few dB louder
than the rest you'll have to accept that - you can't
ask to do it again just because of that. But it's no
big deal. Either you just remember to push the fader
at the right time, or today, using Ardour, you can
just cut out that fragment and move it to a separate
track with its own EQ and level. I find this a lot
easier than using automation.
Ciao,
And don't forget that 90% of all music that
is still
popular today has been produced without any form of
automation, and even without the editing facilities
that e.g. Ardour provides - just using 16 or 24-track
tapes (and in many cases even less). If you can't do
a decent fade-out manually you just have to learn and
do it. Agreed, it's easier with a real P&G fader than
with one you have to move by mouse.
Full ACK and IMO it's not up to the audio engineer to fade, but
it's
the task of the musician to play the instrument dynamically. In most
cases an audio engineer makes a mix that is kept for a whole song,
loud and silent passages are done by the artist, not by the
technician.