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RE: Editing Software

Subject: RE: Editing Software
From: David Shepherd <>
Date: Sat, 10 Dec 2005 08:39:02 +0100 (CET)
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









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Loudspeakers are not birds,
A listening room is not nature."
Klas Strandberg
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