> Date: Mon, 13 Feb 2006 13:04:19 -0700 > From: Steve D <groups@xxxxxxxx> > Subject: Re: More music > On Mon, Feb 13, 2006 at 11:32:42AM -0800, R Parker wrote: > > Punchins aren't illegal and anyone can engineer for > > you in a non-destructive DAW like Ardour. If you don't > > tell anyone about the punchin then you can move on to > > composing and producing another song which makes > > everybody happy. :) > > > > ron > --- --- > > I guess my (irrational) fear is that a punchin/punchout will somehow be > obvious to the listener--that either there will be an abrupt momentary > change in ambience, an abrupt cutting off of pre-punchin sound as the > punchin occurs, or I'll be in a slightly different mood and the volume > or performance won't match, etc. I have been able (I think) to hear > punchins in old analog tape recordings, of Van Cliburn playing the > Tchaikovsky and Rachmaninov piano concertos, of an obscure (but good) > eastern European orchestra playing Stravinsky's Firebird (there were > *lots* of punchins, some of them very obvious and awkward, in that > recording), and so my listening experience has made me wary of punchins. > But, like I mentioned, I'm sure it is an irrational fear. ;-) > > During this recording (for Arabesque 1), I made a strong note to myself > after recording take after take (dozens of them) to learn about and > begin to try punchin techniques. I'm especially interested to learn > whether Ardour automatically creates (or can be configured to do so) > brief overlapping fadeouts/fadeins at punch points. I'm sure that this > information is in the (as yet not fully read) Ardour online manual. ;-) > In fact, I think I'll check that out right now-- I don't ever think of punch ins. If I want to replace something I'll start recording 30 seconds before, and play along until ten seconds or so after. It's really important to give yourself a long run in and play along, and not stop straight after the bit you want to replace. The mood is much more consistant than if you are worrying about hitting a switch at a particular time to drop in, and stop right after. I'll also record to a new track, so I can easily see the waveforms of both recordings, and try a few different places to do the edit. Sometimes it's better to crossfade between the takes over the sustain of a held chord, rather than the obvious places of a silent gap or just before a new note. With vocals I like to keep the intake of breath before they sing a note. If I get rid of it, and it's been audible previously in the track, the edit sounds unnatural in a subliminal way. Anyway, If I could play as well as you I would bother less with editing. :) I only learnt what the point of playlists are in Ardour recently, and I think they are going to be handy for this. At least for the pop stuff I do which is quite heavily edited.
