![]() ![]() #Prolevel records portableIf you are recording directly into Pro Tools, you could of course simply place a marker, by pressing Enter, but often this isn’t possible, as many recordings aren’t done directly into Pro Tools, but rather onto portable recorders. ![]() The spike puts a simple visual cue in the recording waveform that we can then jump to in the edit. We’ve learnt some really useful tricks to speed up the editing process over the years, and a favourite of ours is to make a very loud spike in the recording at any point, usually with one short clap, where you want to make an edit, perhaps for a retake of a line. Once your recording is done, however, there is still plenty of room for further improvement in the edit. If you want to record multiple voices at once, using one microphone per person is going to give you far more control than a single omni microphone placed in the centre. A good-quality script, recorded with a decent mic in a quiet room, will result in a much, much better recording than a poor script recorded in a coffee shop on your phone. Like anything when it comes to audio production, the quality of what you can get at the end is hugely dependent on what you put in at the beginning. In this Pro Tools workshop, we’re going to look at some of the processes we can apply when editing and processing audio for podcasts. What is needed alongside the tools is the skills to use them. Podcasts have grown from a niche interest to a huge market, revolutionising the radio industry in a similar manner to the way that inexpensive DAW software, microphones and other audio equipment has effectively democratised the recording industry.īut just like with recording, putting the tools into the hands of the masses inevitably results in an overload of low-quality end product. ![]()
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