At 9:39 AM -0500 6/3/08, Curt Olson wrote:
>John Hartog wrote:
>
>> ...how separated in the natural time line can two sections of
>> recording be before an invisible crossfade becomes deceptive?
>>
>> For albums, I usually address the issue by inserting a new track at
>> each crossfade and labeling each track with the date and time. Though
>> I may have chopped out several circles of a circling fly and also the
>> second close-up merganser burp (that sounded to human) on one album
>> without mention.
>
>My background is music recording and tight, information-packed radio
>program production, so my definition of "deceptive" might be very
>different than someone else's. To me, if a natural soundscape
>presentation is labeled as an untouched document, then invisible
>crossfades would, of course, be deceptive -- otherwise not. However,
>when I edit nature recordings I worry a lot about accidentally breaking
>up natural rhythms that I'm not yet totally savvy to, but that more
>experienced folks will notice. So I study the surrounding context very
>carefully for clues and usually ask experts to point out any obvious
>blunders.
>
>Curt Olson
>
Consider the many musical and non-musical creative and scientific
works based on experienced sounds and places. All will be perceived
as related efforts over time.
Edited/manipulated sound files and unedited excerpts can both
function as document and convey an aesthetic with a very modest
amount additional organization. 100 years from now, a sound
mixing/edit session (ProTools, Logic, Audacity CoolEdit, etc) can be
tapped to reveal the decision-making. Right now, it probably is very
important to make sure that the listener can determine whether the
file is edited/manipulated or excerpted from a recording. One way is
to save/organize one's editing documents beside the "original" and
"created" files. I establish a unique number for every excerpt I make
and that number is carried into all editing sessions incorporating
that file. Edits, cross-fades, EQ-- all of the decisions are saved in
the mix session document whether I cut out a burp or create a whole
piece from one. In a sense, inaudible cross-fades are the most
radical form of editing.
Likely, no one will ever bother to take apart my sessions, but the
important thing for me is feeling free to do what I feel is important
to try. I am of different mind at different times. That said, I
prize unedited recordings as much as anyone I know. Rob D.
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