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14

In Audacity, you can approach this in at least two ways, depending on the nature of the bit you want to silence and the surrounding material. The simple way is to highlight the section of the track / channel and select "Generate... Silence" from the menu. The suggested duration will be the length of your selection. This is a harsh edit, and very likely ...


7

Audacity is a great tool for this kind of work. You might be able to make a slightly better sound using a sampler that can crossfade across different sounds for different pitches, but I'm not sure if the result would be worth the extra effort. It sounds to me like the problem with your "current best" is that you either aren't looking for zero crossings when ...


7

There are 5 stages/phases in a Album production: Recording > Editing > Mixing > Mastering > Printing. It's worth naming "Pre-production", which is before the 5 steps and can be very important to make things go better. Pre-production can be a wide variety of things. All from making the music arrangements, defining artist identity, vision, and intention; to ...


5

I can see two reasons why you'd use a gate while recording instead of in editing : 1. You're broadcasting live. 2. You're using outboard equipment. A gate should, generally, be first in your audio chain but in your case you might want to put it after your noise reduction. You never want to put it after the compressor! If you do it in editing you have ...


5

The separation of instruments from a mix is something that seems easy to us. Humans can concentrate, for example, on a specific instrument being played in an orchestra. We can do this because we are very good at grouping harmonics into a 'tone', and associating characteristic timbre with an instrument. We are also good at filling in what isn't there with ...


5

Quick answer - No I haven't heard of any but I've heard about research being done on the field. The greatest theoretical problem with de-mixing is knowing what to subtract. When we mix, we add A and B which are both known signals. But when we try to do the opposite, we need to know in advance what B is. This would render the process useless in most cases ...


4

It kinda matters what order you put them in but everyone has a different order that they like and then sometimes you adjust for issues. Most Channel strips let you change the order of at least some of the modules. I tend to default to EQ/DYN/De-es/multiband but everyone is different. Sometimes you might need 2 of certain processes, 1 to fix an issue, ...


4

I think the leaders in this field are without a doubt iZotope and Zynaptiq. iZotope RX is just the most incredible tool for separating sounds using FFT and spectrographic analysis: https://www.izotope.com/en/products/repair-and-edit/rx.html To see what it's really capable of you should check out the work that Michael Wabro did separating the soundtrack and ...


3

MountainX, I don't know if you ever got the answer you needed but I just found out how to do it. If you have a stereo recording in Audacity you click on "Audio Track" at the left of the stereo channel you're looking for. You'll see Split Stereo Track in the drop down menu and then you can edit a specific segment of the audio in that channel alone


3

You can either trim the end of the region by dragging it from the right bottom corner of the region. Or you can use the scissors tool (Esc, then 5), split the region 8 bars in and delete the half that is silent (then double click Esc to go back to the pointer tool). Alternatively, in the piano roll, you can set the end marker for the region - it is shown ...


3

A show usually has a leader reference tone and also has pops, known as sync pops or head pops (versus tail pops) or casually just called "2 pop". The reference tone is in regard to calibration level, the 2 pop is (secondarily for calibration) but primarily for ensuring sync - especially when we';re talking about ProTools sessions containing the ...


3

"i'm afraid i could confuse a low amplitude region with an empty one" Hiya, if you delete the "Audio Files" folder after spotting all offline clips will be greyed out. The recordings have a colour, so you will easily be able to tell what's a spot clip and what's a recording.


3

I would apply them in order of de-esser, EQ and compressor. The first two could be done in either order, but the compressor should generally be last. You could EQ with or without the De-esser applied, but the De-esser will offer you less control over the sound than a good EQ. The compression should be last because it deals with overall signal power, which ...


3

Recording it yourself is definitely the best and easiest way. You will just have to see if your equipment is up to it, though it's not a difficult sound to record so you may be ok. Portable recorders are so cheap now it's worth investing in one if you do this kind of work regularly. One technique you could try with your sound is to make a copy, reverse it ...


3

There are enough patches in the recording with the hum and without the voice to use a noise removal tool -- Audacity has one built in and the LADSPA plugins provide this kind of thing. I'd be shocked if the likes of Protools, Logic etc didn't have such a thing. As the comment mentions below, the noise is sampled and then its audio spectrum removed from the ...


3

If the vocals are in different languages then no, there is nothing that can be done to cancel them out automatically. If the different lyrics have gaps in different places then you could manually select these gaps using a DAW and drop them into a "master" version.


3

My website, monotoSTEREO.info, and its companion Facebook page may be of interest. It is dedicated to providing a collection of resources on audio upmixing using processes such as source separation and spectral editing, with links to over 1,000 research papers, presentations, etc. in the field as well as media samples.


3

I'm afraid what you are asking for could be the equivalent of taking a Victoria sponge cake & asking for the flour, sugar, butter & eggs back in separate bowls. If there are clear spaces between each person speaking, you have a chance; any audio editor such as Audacity [freeware] can be used to [manually] split the audio at each gap, then move each ...


3

What you are asking for is pretty much like trying to take the sugar of a baked cake. There are tools that could help but I have no personal experience with them. From what I was told, iZotope RX can work some magic. I think they have a trial version, but I don't know how limited it is. Using a software like audacity or reaper you can also put a hi-pass ...


2

stick with 48/24 without applying any dither? Dither adds noise. Noise * 100 tracks = more noise Use any DAW. Literally any DAW. They all allow varying degrees of automation, but there is no DAW "sound designers use" (pro tip: everyone uses two or more) - whatever you, yourself, can do it quickest or easiest in, is what you should be using. I'd use a two-...


2

This is a really general answer and you may get better ideas by chatting with someone in person but: I think this is a really classical example of balancing time, effort and economics (how much are you asking for, how much are the others asking for). It's really just something that you need to balance, so that it feels good for you and others that are ...


2

Maybe you can get it domne after reading this. http://www.steinberg.net/en/support/tips_and_tricks/archive_2011/cubase_6_split_audio_files_july_2011.html


2

Zoom way in on the waveform and cut at the "zero crossing," where the waveform crosses from the positive part of the wave to the negative through the horizontal line that runs through the middle of the display. Not to be too zen about it, but you want the waveform to pass through the edit point as if nothing happened. Then, as stavrosound said, add a very ...


2

Crossfade it. That's the only way to prevent snaps. Occams Razor ;)


2

Use volume automation rather than cuts. That way you can pull the annoying noises to the background without creating audible gaps. If you cut, then the remaining ends ought to be faded to "0" by using fade-ins/fade-outs, otherwise they'll pop.


2

If you go for a professional video suite such as Premier, then this is very straightforward, however if your budget won't stretch that far you can do it in three steps: AviDeMux or FFMpeg will let you split audio from video. Once you have the audio separated from the video this is easily done in any DAW by simply splitting the left and right into two ...


2

for normalization in todays crowded market - where we are experiencing "loudness wars" you do not want to be normalizing to peak levels. You normalise to a loudness standard. There is an open-source project that will achieve this for you - bs1770gain which is the updated version of r128gain. This will normalize to a loudness level and will thus consider ...


2

My son used MultiPlay for a show last year. He is a teacher. He had his students run the program for cueing through the show. It worked really well. It's Windows only. http://www.da-share.com/software/multiplay/ MultiPlay is a Windows based program designed to play audio cues for theatre or corporate use. It is free to use in both amateur and commercial ...


2

If you can get access to mac just use Qlab! It works great and for stereo playback, which I'm guessing is what you're looking for, it's totally free...


2

DAWs are not intrinsically harder to use than NLEs. The thing is that most people really don't know their NLE either. Most consumers and beginners don't use many advanced features of their NLE. Since video is visual, people are inherently better at separating out and visualizing what is happening with multiple layers and accomplish what they want without ...


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