On 2/13/06, Steve D <groups@xxxxxxxx> wrote: > Steve D mentioned an "irrational" fear of the punchin/punchout recording > technique. Ron Parker and Cesare Marilungo commented-- > > Ron Parker wrote: > > We definitely hear "bad" punches. It's something you get good at; play > > along with yourself, perform the puch-in and punch-out then stop > > playing. Afterwards trim the region in and outs so the punch can't be > > heard. > > Cesare Marilungo wrote: > > There's another, way better, method. Just route your keyboard output > > to a midi sequencer (muse or rosegarden) and then to the sampler. In > > this way you can do punch-ins in midi, delete notes seamlessly merge > > two or more performances and more. > > Thank you very much, Ron and Cesare. I'll try both approaches and > hopefully I'll learn how to exploit both the digital-audio and MIDI > punchin/punchout recording techniques. > > Regarding the digital audio (rather than MIDI) approach, I'll try to > space the punchin and punchout points a little farther apart than I > normally would, to give me a greater choice *after* re-recording the > section as to exactly where I want the actual punch to occur. (I hadn't > thought of that, obvious though it may now seem. ;-) > > Thank you, > > -sd Steve, While not appropriate for all types of music a few times I've dealt with bad punch-in problem by throwing a drum beat or some random sound in where I needed it. I do stuff where random bits of percussion or sound effects will not be totally out of place. This wouldn't be to likely to work in the middle of a solo piano piece though. I've also edited the digital audio sample by sample to sort of cover up problems right at the boundary when it wasn't appropriate to do a proper fade out / fade in. Good luck, Mark
