hungrydave Posted August 16, 2012 Share Posted August 16, 2012 I've got a pop on a clarinet track. What's the best way to get rid of this? I'm worried that if i just cut it out in the sample editor it will alter the actual audio take on the HD (because the sample editor is destructive editing right?), and then if it doesn't sound good or i make an even worse glitch i won't be able to get back to where i started. Advice please Quote Link to comment Share on other sites More sharing options...
David Nahmani Posted August 16, 2012 Share Posted August 16, 2012 Destructive editing doesn't mean you can't undo. Do it, listen to it, and if you don't like it, press Command-Z. If you want to be safe, first select your audio region in the Arrange area and choose Audio > Convert Region to New Audio File. Quote Link to comment Share on other sites More sharing options...
Eric Cardenas Posted August 16, 2012 Share Posted August 16, 2012 Or just make a back-up in the Sample Editor. Quote Link to comment Share on other sites More sharing options...
shivermetimbers Posted August 16, 2012 Share Posted August 16, 2012 I always thought it (the pop) was part of the . Quote Link to comment Share on other sites More sharing options...
ski Posted August 16, 2012 Share Posted August 16, 2012 I've got a pop on a clarinet track. What's the best way to get rid of this? Hire someone who isn't old enough to have grandchildren. (Bada boom) I'm worried that if i just cut it out in the sample editor it will alter the actual audio take on the HD (because the sample editor is destructive editing right?), and then if it doesn't sound good or i make an even worse glitch i won't be able to get back to where i started. This has already been addressed, so let me tell you about the undo buffer... The sample editor has its own undo buffer, separate from the undo buffer that stores such things as edits to notes, regions, etc. By default you have 5 levels of undo set for the sample editor's undo buffer (this is set in the preferences). Feel free to increase that to 10, 20, whatever, so you can have the freedom to experiment with getting rid of the pop. Aside from the number of undo steps, I'd suggest you have your sample editor prefs set to as you see them in the screenshot below. But the best ounce of prevention (so that you won't worry so much) is, as mentioned, to make a backup copy first. Depending on the nature of the pop, you can either draw it out using the pencil tool (difficult) or use the Silencer, part of the "Factory" functions in the sample editor itself. The Silencer is, essentially, an adjustable lowpass filter. I've found it to be extremely effective on pops and clicks, but it's difficult to say if it will work or not on your clarinet part without hearing it. Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 16, 2012 Author Share Posted August 16, 2012 thanks all and thanks for the detail ski. If i just cut it out, that'll drag all the audio back by the amount of time i cut out. Will that 'drag' affect separate regions that i have snipped and separated but were originally from the same take? Quote Link to comment Share on other sites More sharing options...
shivermetimbers Posted August 16, 2012 Share Posted August 16, 2012 The silence feature will just flatten it out to silence and you do not need to drag anything. but it's difficult to say if it will work or not on your clarinet part without hearing it. Isn't that the goal? (bada boom) Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 16, 2012 Author Share Posted August 16, 2012 (edited) I tried the silencer feature by selecting a bit in the sample editor - annoying that you can't move the left and right sides of your selection. Then i realised there's no 'preview', so i guess you just go ahead and make changes by trial and error and undo each time you don't like it. I didn't fancy that so i had a go at just snipping it out. It worked fine. I played the track back and it doesn't seem to have effected the time of any other regions... but to be fair, i've long ago forgotten which regions were from which takes so maybe i was only using that phrase from that take. It's stuff like this that scares me about the sample editor. There's all this stuff in there that isn't in your region and i'm scared to make edits for fear of affecting other regions. Is there a way to just make new samples from the region bits you're actually using so my regions directly correlate to what's in the sample editor instead of having three regions all from differnt bits of the same sample/take? Edited August 16, 2012 by hungrydave Quote Link to comment Share on other sites More sharing options...
ski Posted August 16, 2012 Share Posted August 16, 2012 (edited) I tried the silence feature by selecting a bit in the sample editor - annoying that you can't move the left and right sides of your selection. Silencer, Not Silence. Edited August 16, 2012 by ski Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 16, 2012 Author Share Posted August 16, 2012 sorry, silencer. That's what i meant yeah. Language mistake Quote Link to comment Share on other sites More sharing options...
ski Posted August 16, 2012 Share Posted August 16, 2012 Indeed you can change the left/right sides of your selection. In the sample editor... • if you want to adjust the left edge of the selection, SHIFT+Click to the left of the left edge • if you want to do the same thing to the right edge of the selection, SHIFT+Click to the right of the right edge Or... You can cut the region in the arrange page to isolate the small area in which the click occurs. Don't have to be too picky, just isolate it with the scissor tool. Then open the sample editor and your selection will be confined to the vicinity of the pop. Quote Link to comment Share on other sites More sharing options...
ski Posted August 17, 2012 Share Posted August 17, 2012 It's stuff like this that scares me about the sample editor. No reason to be scared, especially if you've created a backup as recommended. And again, that's what the undo buffer is for. There's all this stuff in there that isn't in your region Simple, just avoid selecting stuff outside the boundaries of the region. For example, don't have the sample editor open and use CMD-A (select all) to select the entire audio file. Is there a way to just make new samples from the region bits you're actually using so my regions directly correlate to what's in the sample editor instead of having three regions all from differnt bits of the same sample/take? Well, you're making more work for yourself, but indeed (ding!) you can convert regions to new audio files. Right-click on the region in the arrange page and you'll see the option to convert to new audio file. Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 17, 2012 Author Share Posted August 17, 2012 Indeed you can change the left/right sides of your selection. In the sample editor... • if you want to adjust the left edge of the selection, SHIFT+Click to the left of the left edge • if you want to do the same thing to the right edge of the selection, SHIFT+Click to the right of the right edge of the selection Aye, that works, thanks buddy. Be nice to have the pointer change on shift-hover (are you listening logic?) So basically this situation is fixed, the pop is gone and all the regions play back in time. Quote Link to comment Share on other sites More sharing options...
ski Posted August 17, 2012 Share Posted August 17, 2012 Final word for now... Suggest that before you commit to doing edits on this project, open up another project (or start a new one) and practice with the sample editor on some other piece of audio (preferably something "disposable" that you won't have to worry about messing up). Take an hour or two to do this and you won't regret it. Post back here if you have questions about how things work. [ EDIT: Cross posting... Hey, that's great, glad you got it all working! ] Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 17, 2012 Author Share Posted August 17, 2012 Well, you're making more work for yourself, but indeed (ding!) you can convert regions to new audio files. Right-click on the region in the arrange page and you'll see the option to convert to new audio file. More work but less fear Thanks ski. I need to get better at this regions-samples stuff, but at the moment (in the middle of a deadline) that trick will be most useful Quote Link to comment Share on other sites More sharing options...
ski Posted August 17, 2012 Share Posted August 17, 2012 I like that: More Work, Less Fear Although that sounds a little bit like a slogan for a gulag prison camp, still it's got profound meaning for any creative person. I know it's true for me. Oh, sorry, gimme one second... "Jailer? You're late with my slop!!" Quote Link to comment Share on other sites More sharing options...
ski Posted August 18, 2012 Share Posted August 18, 2012 Hungry Dave, I think you jinxed me by posting about this, cuz I just finished recorded some clarinet and had to deal with key clicks that were cutting through the mix. And... and... "that's never happened before"........... Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 19, 2012 Author Share Posted August 19, 2012 Hungry Dave, I think you jinxed me by posting about this, cuz I just finished recorded some clarinet and had to deal with key clicks that were cutting through the mix. And... and... "that's never happened before"........... Muahaha. Any tricks for dealing with the completely different timbres you get from both ends of the 'clarinet break'? I found that close miccing it exacerbates that problem, but more distance loses some warmth. I ended up like if the mic was pointing straight into the horn and then took a sidestep of about 5 inches Quote Link to comment Share on other sites More sharing options...
ski Posted August 19, 2012 Share Posted August 19, 2012 Ah, so you're an evil trombone-playing genius I see... Re the tonal differences, hmmmm... that's usually something the clarinetist learns to even out. There are three different registers (chalumeau, (break) clarino, and altissimo) and usually it's up to the player to smooth out the difference on either side of the break. I dunno, did you get a good clarinetist? Or some guy standing on the street corner holding a sign saying "won't squeak for food"? Also, what key was the piece in, and, was the guy (or gal) playing a Bb or A clarinet? Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 19, 2012 Author Share Posted August 19, 2012 He's a great sax player who also plays clarinet. I don't know anyone who's first instrument is flute or clarinet, only sax players that double. He's pretty good at clarinet i'd say, but it's a new clarinet and hasn't really settled yet. The difference after 30mins of warming up is a lot, but it still tends on the flat side a bit. It's a Bb clar We recorded 4 tunes in different keys. I know jazz horn players like concert flat keys (don't we all!!!), but these tunes were composed by a guitarist, so the keys are probably concert E, A, D, G . I didn't play on any of these tunes, just engineered, so i can't say off the top of my head. I can open the files and check, but i can't change the keys anyway. The hardest bits to record were those riff in the higher registers. Getting the low registers nice and warm was easy Quote Link to comment Share on other sites More sharing options...
ski Posted August 19, 2012 Share Posted August 19, 2012 OMG, it's a panoply of keys and doublers and new clarinets and... OMG! Yeah, the high register can be pretty piercing. And the tuning? Ouch. That would make me nuts. Autotune? Maybe if he was a full-time clarinetist he'd have more control over the tone. Dunno. But anyway, to evening out the tone, thinking that getting some distance between the player and the mic would help, and also choice of mic. Thinking (off the top of my head) that an RE20 might be good for clarinet.... Anyhoo, yeah, autotune. LOL! Quote Link to comment Share on other sites More sharing options...
Rev. Juda Sleaze Posted August 19, 2012 Share Posted August 19, 2012 If I may add my very humble experience recording clarinet... I've used a '57 about 6-8" from the bell, and pointed straight at it. I've then blended that with stereo condensors (my Zoom, no risk of phase problems) 3-6' away, sometimes at funny angles to get more reflections and less direct sound. Sometimes I've kept the stereo, sometimes summed it all to mono. I've found this to give a nice balance of tone, blended to taste for more/less air noise or smoother distant sound. Quote Link to comment Share on other sites More sharing options...
hungrydave Posted August 20, 2012 Author Share Posted August 20, 2012 thanks for the tips. Interesting that you both recommend dynamic mics Quote Link to comment Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.