They have different names: Flex Time and Pitch in Logic, Hitpoints in Cubase, and so on. It’s a massive timesaver and you can even sometimes specify things such as auto fades at the start and end of each file, further saving you time.ħ: Use Time- and Pitch-stretching Any mid-level or better DAW will support time- and pitch-stretching of audio. With these tools you can make all your settings for a single audio file, say, for example, a plug-in and EQ chain to clean up some voiceover recordings, and then apply it to a bunch of files at once.
#IS BREAKTWEAKER THE SAME AS STUTTER EDIT SOFTWARE#
Software such as Sound Forge or WaveLab has built-in batch processing options. Ideally what you want to do is batch process all your sounds at once.
Loading lots of audio tracks into a DAW, applying a track preset to each one and then exporting them as stems is possible but it’s a long-winded approach. Mini crossfaders are often available to smooth the transitions between takes.Ħ: Batch Process Audio Files This is more applicable to situations where you have already made edits or set up plug-in chains and you want to apply the same settings to a number of files. By cutting or marking each take appropriately you can build a perfect take from the constituent clips. Maybe you’ll find the first line of take one sounded great, then the next line of take three, then the last bit of take one again. Then once you have stopped recording, go into the takes editor (your software will have a name for it) and audition each one. The usual way to achieve this is to record in a loop between the left and right locators, making sure your software is set to keep each take, mute it and record a new version with each pass. By processing inside the clip you can avoid cutting it up, though that approach is available to you too, of course.ĥ: Take Advantage of Compositing Many DAWs support comping, which is the selection of multiple passes or versions of an audio clip and their combination into one, finished, perfect take. This doesn’t require you to cut the clip up first, and, for example, is a great way to insert some silence, to perform an EQ cut on one word or sound inside an existing clip, or to reverse a couple of notes from the middle of a guitar take. This means opening the audio file in the sample editor, isolating a section of the waveform where you want to apply the processing and then ‘gluing’ it into the file. One interesting trick in some software is to process effects and other tools ‘in place’ on a file.
#IS BREAKTWEAKER THE SAME AS STUTTER EDIT PRO#
A spectrographic editor such as iZotope’s RX or Sony’s SpectraLayers Pro can show you this sound separately and you can then ‘paint’ it out, take a noise print or perform a number of other processes to ‘reach inside’ the sound file.Ĥ: Process in Place All serious software will let you apply audio processing to files, such as normalization, fades, reverse and usually also plug-ins as well. Imagine you have a recording of the perfect vocal take but in the background there’s a car horn that’s crept into the recording – this would be tricky to remove using EQ because the frequencies of both sounds cross over to an extent. Even better, they provide you with a way to edit sounds in whole new ways. Spectrographic analysis, on the other hand, can show you multiple visual representations of the frequencies and amplitudes inside a sound based on the type of view that you select. The finer the zoom level the quicker the playhead will disappear offscreen, so it can be a good idea to set up a loop and disable autoscrolling as this will probably drive you mad otherwise.ģ: Use Spectrographic Editing Regular waveforms are fine for seeing the amplitude and duration of audio files, but that’s about it. Glitches or other events that last for only a fraction of a second can be identified and processed or corrected by zooming right down. 2: Zoom In Software enables you to zoom in on any waveform to sample level, and this gives you a great deal of power.
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