First, Sorry to those fed up with gear talk!
=20
Hi John
I used Cool Edit Pro (The last version before it became Adobe Audition) f=
or three years and taught first year composition students how to use it. =
So my understanding of it is reasonable.=20
=20
For me its main draw back is that most editing and processing is destruc=
tive.
e.g. When cutting or trimming a file a new file has to be created otherw=
ise it applies any process - EQ, dynamics, etc to the whole file not to th=
e part that is being edited. As it is destructive it will change the sour=
ce file. Also it does not link split stereo files. I could go on... =
=20
I tried many programs before settling with Samplitude V8 it does have ff=
t and below is a little of what it can do from the help files.
=20
The FFT Filter Spectrum Analyzer is a high quality tool that allows you =
to solve typical problems that may arise in every day studio work. The Ana=
lyzer is a combination of a FFT spectrum analyzer and a FFT filter. The ca=
lculated frequency response can be freely edited with a drawing function a=
nd reapplied to the audio material. The real time preview function allows =
for intuitive and time saving previewing of the changed audio.
Some applications for this function are:
=20
=20
=96 Frequency response Verification and correction of a recording or m=
ix.
=20
=96 High precession frequency measurements i.e. verification of the tu=
ning of instruments.
=20
=96 High quality filtering: fine tuning or complete frequency alterat=
ion of samples without changing the phase response. Typical filter applica=
tion effects such as the worsening of impulse responses or the room charac=
teristic are completely eliminated. The filter does not contain it=92s own=
amplitude.
=20
=96 Sub-base precision correction by raising or reducing the amplitud=
e is possible in the range of 10 to 50 Hz without the typical dampening ef=
fect that occurs with conventional filters. This is ideal for Dance music =
or eliminating of "rumbling noises" and similar effects.
=20
=96 Detailed volume reduction or amplification of specific instruments=
or tones in a recording.
=20
=96 Formant filtering.
=20
=96 Dynamic filtering Crossfading of two filter curves for filter swi=
tch effects, variable frequency fading and more.
=20
=96 Applying of frequency responses from other mixes or room characte=
ristics, including patterns from particular loudspeakers. This is of great=
help when given the task to fit samples into a mix or to create and simul=
ate specific listening environments.
=20
=96 Correction of frequency responses from recording or listening room=
s, loudspeakers, amplifiers and others.
=20
I can tell you a lot more about it if you would like but perhaps it would=
be better if I contine off list
=20
=20
Best
=20
David
=20
=20
John Hartog <> schrieb: Before I go ahead and purcha=
se Adobe Audition, has anyone found it
unsatisfactory?=20
John Hartog
"Microphones are not ears,
Loudspeakers are not birds,
A listening room is not nature."
Klas Strandberg
Yahoo! Groups Links
=09=09
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"Microphones are not ears,
Loudspeakers are not birds,
A listening room is not nature."
Klas Strandberg
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