Yeah, I'm just getting what I'm given. The recording isn't terrible, but there are some things I would have got better at source, given the chance.

May do like you were talking about and give a "tactful request!"

[edit]

I know when I get my wife in front of a mic she sings totally different than she did before standing in front of the mic.


Maybe the recording engineer just sticks a mic there and says "Stand on this piece of tape and just read" fully knowing the problems that will be recorded. He's more interested in getting the quality if the voice, instead of getting a great recording.

Yeah, the material is somewhat under-produced in that sense. My suspicion is that they're using voice talent who are reasonably competent at recording themselves, rather than a reader and a recordist. This means that there are little errors or performance deficiencies that a second pair of ears would have probably spotted on the fly.

Anderton

Kylotan
Having a setting that could generate fade-ins and fade-outs whenever a clip is split would solve this problem, and also my drum editing problem. I believe that Cubase, Reaper, Pro Tools, and Ableton all have this capability.

Please see this post. It's unorthodox, but it's fast and I use this technique all the time to specify fade times when splitting clips. I use this not only for narration, but also when creating sample libraries and need to isolate hits.
 
The main limitation is that the fade in/out times are the same. I usually do 7 ms (the same amount ADATs did, LOL). Fade times are limited to 100 ms but I've never found that to be an issue.
 
If you're using Take Lanes, you need to do this with the parent track. It won't work on individual Take Lanes.

I can see how this would work well for making sample libraries. The problem for me is that I never want the clips split on the transient. I want the clips split at some arbitrary point before the transient, a point which I will decide by looking at the multi-track recording, and which needs to apply to several tracks at once. If I split on the transient, then I can't bring late hits back in time to correct them.

Kylotan

Anderton

Kylotan
Having a setting that could generate fade-ins and fade-outs whenever a clip is split would solve this problem, and also my drum editing problem. I believe that Cubase, Reaper, Pro Tools, and Ableton all have this capability.

Please see this post. It's unorthodox, but it's fast and I use this technique all the time to specify fade times when splitting clips. I use this not only for narration, but also when creating sample libraries and need to isolate hits.
 
The main limitation is that the fade in/out times are the same. I usually do 7 ms (the same amount ADATs did, LOL). Fade times are limited to 100 ms but I've never found that to be an issue.
 
If you're using Take Lanes, you need to do this with the parent track. It won't work on individual Take Lanes.

I can see how this would work well for making sample libraries. The problem for me is that I never want the clips split on the transient. I want the clips split at some arbitrary point before the transient, a point which I will decide by looking at the multi-track recording, and which needs to apply to several tracks at once. If I split on the transient, then I can't bring late hits back in time to correct them.

In the original post about this I said "Set the AudioSnap Threshold to 100 so there are no transients, then add transient markers (Alt+click) where you want to separate words. Then choose Split Beat into Clips..." So really, this has nothing to do with the "snap" aspect of AudioSnap, just the ability to split at the "transient" markers (which may or may not land on transients, based on where you put them).
 
Since you need to apply to several tracks at once, you can do this one track, then place all the transients in the pool. Apply the pool to the other clips and you can split them in the same place. As I said, it's sneaky...but it works.