RX allows us to visualize each sound and diagnose problems very quickly and precisely. Our primary goal in editing this library is to preserve as much of the original recordings as possible, cleaning only when necessary. We use RX for repairing many issues from raw field recordings – this includes the basics (trimming files, applying fades when necessary) in addition to: We didn’t expect this, but our editors spend roughly 95% of their editing time in RX. ![]() Our primary audio editor for this project has been iZotope RX 7. – Daniel D'Errico, PSE Library Development Specialist "With such diverse and robust source material to work through, the powerful simplicity and reliability of BaseHead has really streamlined the editing and cataloging processes.” These shortcuts have been crucial to our workflow. BaseHead has been our software of choice while editing the library.īesides the obvious (entering descriptions and categories) we really love the keyboard shortcut “W” for sending a file to an external editor (RX in our case) and the ability to destructively trim files within BaseHead. While The Odyssey Collection will be fully compatible with all asset management software including Soundminer, AudioFinder, etc. Now that we've released Odyssey Complete, we wanted to outline some of the tools we've used to make this library the best it can be, and give you a sense of the attention to detail and care we’ve taken in the process.Ĭreate beyond your imagination with The Odyssey Collection. Needless to say, while working on such a massive and time-intensive project, we’ve learned a few things along the way. Check out this infographic illustrating the time, effort, and dedication that has gone into creating The Odyssey Collection. Since we started working on Odyssey in 2017, the PSE Editorial Team has logged over 20,000 hours developing the library – including curation, editing, mastering, and metadata. ![]() However, this library has always existed in a very raw and unmastered state, and we knew that to present the library in the best way possible, we’d need to put in thousands of hours of editing. Anderson to create The Odyssey Collection, we were very impressed with the quality and the depth of the library that they’ve built working together for over 30 years. When we partnered with Mark Mangini and Richard L. Please don’t expect any of these posts to be long, earth-shattering masterpieces that instantly answer every single question you can think of and completely transform you into a world class podcast engineer. “Little by little, a little becomes a lot.Discover the Pro Sound Effects Editorial Team’s approach to developing The Odyssey Collection sound effects library and tools of choice to get the job done. Want to receive the Daily Goody in your email, daily or weekly? Subscribe free here.Īnd please keep in mind, the Daily Goody is only a tiny little tip, fact or lesson everyday. I remove/correct a lot of things other editors don’t even notice or think about.” ![]() Depending on the quality of the audio and how well the host/guest speaks I’m at 1.5/2:1 for most episodes and I definitely don’t skimp on the editing. Previously I used Soundforge Pro on my PC and I would usually edit at 1.7x speed.Ĭhris Webster: “I use Audition and I’m at about 1.5x for pretty detailed editing and audio mastering.”īritany Felix: “Another vote for 2x editing here. I currently use TwistedWave for my detail editing, and unfortunately it doesn’t provide variable playback speed – I’m stuck at regular playback speed, which is a bit of a bummer.
0 Comments
Leave a Reply. |