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Equivalent to Wavelab's "Insert Silence (Advanced)"
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cyclometh
King's Row

Joined: 06 Aug 2010
Posts: 1051
Location: Olympia, WA

Posted: Thu Aug 15, 2013 5:14 pm Post subject:

Jason Huggins wrote:

There it is! Do you ever have issues with DC offset clicks? Or do you just snap to zero crossings or something similar?

Very good question. I use snap to zero when selecting the audio for room tone.

For anyone wondering what "Snap to Zero" means, here's a super-quick and dirty diagram:

If you cut at a zero crossing, there's no pop or click when you join two segments of sound. If you don't cut at a zero crossing, you can get a sudden jump from one point on the waveform to another, which can produce a snap or click noise.

Most DAWs have a setting for "Snap to Zero Crossing" or similar.
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tonyyoungblood

Joined: 10 Aug 2013
Posts: 2
Location: Nashville, TN, USA

Posted: Sat Aug 17, 2013 1:44 am Post subject:

Thanks, all,

Sorry for taking so long to respond. I must not have checked "Notify me when a reply is posted."

vkuehn wrote:

Tony: that indeed is a great feature.

Do you use the full-blown Wavelab or the Elements? Do you know if Elements version has that feature?

I use the full-blown Wavelab 8. I know that the feature was also available in Wavelab 7. I'm not sure about Elements.

Jason Huggins wrote:

I use Adobe Audition CS6, and it is super easy to ...

Thanks Jason,

Does this method insert a pre-selected length of room tone or the length of the breath/pause you highlighted? I try to respect the narrators' choices in pacing whenever I can, and inserting a different length would throw that off.

I may be in a slightly different situation that most of the people here. Do the narrators here do their own editing, or do they send it off to another person for the editing and mastering passes?

In my case, Audible sends my company a rough record (punched in). I do a pass editing for pacing, click and pop removal, and (minor) breath removal. I insert chapter markers, etc.

I then do a quality control pass, reading along with a Hobo Laughing

F version of the text. I mark any misreads, mispronunciations or noise for pick ups. The narrator will re-read these parts and I insert them. I then render into chapters and send to my boss, who then sends to Audible for the mastering step.

The Audible mastering engineers may very well gate the recording, but since I am not allowed to lay down any effects, I can't assume. I'm generally not a fan of anything but the most minor gating or expanding as it will inevitably lead to (at worst) parts of words and (at best) nuances cut out. I wouldn't want to gate anything that I can't preview, and I'm next to certain the mastering engineers at the next step don't preview the entire book.

Hopefully, instead of gating, they just take a noise print of the room tone and perform minor noise reduction.

When it comes to breaths, I generally

1. Leave in any breath that enhances the performance (or sounds natural)
2. Take out any breath that hurts or distracts from the performance
3. Take out most breaths at the beginnings of sentences.
4. Take out any clicky/poppy breaths
5. Take out breaths between character/narrator changes. For example, "Roger said, (breath) 'Careful with that axe, Eugene!' (breath) 'Make me!' shouted Eugene." In that example, I would take out both breaths to clearly separate the narration from character 1 and character 1 from character 2. That's just my own preference though.

cyclometh wrote:

I use snap to zero when selecting the audio for room tone.

Snap to zero is another indispensable feature for me. I also keep shortcuts for two types of delete at the ready: smooth delete, which crossfades a set amount (most of my cutting), and razor delete, which cuts exactly what I highlight (for zoomed-in precision click/pop removal).

The spectral view is also highly useful for hunting down exactly where the pesky mouth clicks and pops are.

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