[Carey Carlan]

Editing classical music with retakes in a large hall.

I need to pick up in the middle of one take with the beginning of another.

The problem: The ongoing take has reverb from the previous phrase whereas
the beginning of the next take does not.

The solution: Cut the duplicated material from the first take and extend
the reverb with a convolution sample taken from that hall that day with
those microphones in that position.

Paste the second take over the synthetic reverb and all sounds seamless.

[Richard Crowley]

"Carey Carlan" wrote ...
Editing classical music with retakes in a large hall.

I need to pick up in the middle of one take with the beginning of
another.

The problem: The ongoing take has reverb from the previous phrase
whereas
the beginning of the next take does not.

That is why I always have the performers start several measures
before the intended edit point. Besides, it is frequently better for
the performance to have them make a "running start". :-)

The solution: Cut the duplicated material from the first take and
extend
the reverb with a convolution sample taken from that hall that day
with
those microphones in that position.

Paste the second take over the synthetic reverb and all sounds
seamless.

Brilliant! How did you take and analyze the convolution sample?

[Carey Carlan]

"Richard Crowley" wrote in
:

"Carey Carlan" wrote ...
Editing classical music with retakes in a large hall.

I need to pick up in the middle of one take with the beginning of
another.

The problem: The ongoing take has reverb from the previous phrase
whereas
the beginning of the next take does not.

That is why I always have the performers start several measures
before the intended edit point. Besides, it is frequently better for
the performance to have them make a "running start". :-)

The solution: Cut the duplicated material from the first take and
extend
the reverb with a convolution sample taken from that hall that day
with
those microphones in that position.

Paste the second take over the synthetic reverb and all sounds
seamless.

Brilliant! How did you take and analyze the convolution sample?

I dropped book on the stone floor during the recording session to create
an impulse. Took three tried to get a sample without street noise. When
I got back, I fed that impulse into my convolution reverb program.
Worked with just a bit of EQ.

I'm supposed to carry firecrackers or at least a party balloon to pop to
all my location sessions, but my two remaining brain cells can't seem to
handle that.

[Neil Rutman]

This is interesting to me as I have had similar situations where I used a
different reverb to cover the gap not knowing how to do my own ir. You
basically feed a stereo mix from all mics of the wav created after the
intital contact of the book hitting the floor?

Neil R

--
Neil Rutman
Executive Producer
Marathon Road Entertainment
"Music For Media"
www.marathonroadent.com
"Carey Carlan" wrote in message
...
"Richard Crowley" wrote in
:

"Carey Carlan" wrote ...
Editing classical music with retakes in a large hall.

I need to pick up in the middle of one take with the beginning of
another.

The problem: The ongoing take has reverb from the previous phrase
whereas
the beginning of the next take does not.

That is why I always have the performers start several measures
before the intended edit point. Besides, it is frequently better for
the performance to have them make a "running start". :-)

The solution: Cut the duplicated material from the first take and
extend
the reverb with a convolution sample taken from that hall that day
with
those microphones in that position.

Paste the second take over the synthetic reverb and all sounds
seamless.

Brilliant! How did you take and analyze the convolution sample?

I dropped book on the stone floor during the recording session to create
an impulse. Took three tried to get a sample without street noise. When
I got back, I fed that impulse into my convolution reverb program.
Worked with just a bit of EQ.

I'm supposed to carry firecrackers or at least a party balloon to pop to
all my location sessions, but my two remaining brain cells can't seem to
handle that.

[Don Pearce]

On Sun, 30 Sep 2007 18:36:27 -0700, "Neil Rutman"
wrote:

This is interesting to me as I have had similar situations where I used a
different reverb to cover the gap not knowing how to do my own ir. You
basically feed a stereo mix from all mics of the wav created after the
intital contact of the book hitting the floor?

Neil R

A book hitting the floor is not the best you can improvise. A handclap
is better. Use the fingers of one hand against the palm of the other
hand to make it sharp - palm to palm always has a huge cavity
resonance in it.

I make my impulse responses for convolution reverb with a 50 year old
cap pistol.

d

--
Pearce Consulting
http://www.pearce.uk.com

[Fletch]

On Oct 1, 9:54 am, (Don Pearce) wrote:
On Sun, 30 Sep 2007 18:36:27 -0700, "Neil Rutman"

wrote:
This is interesting to me as I have had similar situations where I used a
different reverb to cover the gap not knowing how to do my own ir. You
basically feed a stereo mix from all mics of the wav created after the
intital contact of the book hitting the floor?

Neil R

A book hitting the floor is not the best you can improvise. A handclap
is better. Use the fingers of one hand against the palm of the other
hand to make it sharp - palm to palm always has a huge cavity
resonance in it.

I make my impulse responses for convolution reverb with a 50 year old
cap pistol.

d

--
Pearce Consultinghttp://www.pearce.uk.com


I use one of those old clicky toys with the little spring steel strip.
Sharp high pitch and short. I put it in my pocket and let go for the
second click so it's muffled... or I wait until we're done and then
release it.

--Fletch

[[email protected]]

On Tue, 02 Oct 2007 09:33:40 -0700, Fletch
wrote:

I use one of those old clicky toys with the little spring steel strip.
Sharp high pitch and short. I put it in my pocket and let go for the
second click so it's muffled... or I wait until we're done and then
release it.

--Fletch

I pop a balloon.

[news.verizon.net]

You can also edit this with a good asymmetric crossfade editor. Use a fade
where fade out the other ambient material while you bring in the new
material at full volume. An easy edit without the need of reverb in any
good editor (Sequoia in my case, but also Pyramix, SADiE, Sonic, etc...).
Not an edit that can be done easily in Cubase, Pro Tools, Sound Forge or
other questionable editing interfaces.

And as others have said, make sure you have enough of a head and tail on all
takes when producing the session so you don't need these workarounds.

--Ben

--
Benjamin Maas
Fifth Circle Audio
Los Angeles, CA
http://www.fifthcircle.com


"Carey Carlan" wrote in message ...
Editing classical music with retakes in a large hall.

I need to pick up in the middle of one take with the beginning of another.

The problem: The ongoing take has reverb from the previous phrase whereas
the beginning of the next take does not.

The solution: Cut the duplicated material from the first take and extend
the reverb with a convolution sample taken from that hall that day with
those microphones in that position.

Paste the second take over the synthetic reverb and all sounds seamless.