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CD tracks: fade to black, or room tone?
Old 2 weeks ago
  #1
Gear Addict
 

CD tracks: fade to black, or room tone?

When/if you produce CDs for clients (assuming that that still happens, occasionally), do you separate tracks by digital silence, or by using room tone?

Thank you.

DG
Old 2 weeks ago
  #2
Quote:
Originally Posted by dgpretzel View Post
When/if you produce CDs for clients (assuming that that still happens, occasionally), do you separate tracks by digital silence, or by using room tone?

Thank you.

DG

Room only if attacca between movements, otherwise silence. The trick is to have a quiet enough background so it doesn't sound like a fade at the end of a movement.
Old 2 weeks ago
  #3
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tourtelot's Avatar
Fade out, fade in here unless it it one continuous performance where I simply drop a start mark (flag) 2 seconds before the piece/movement starts and let the performance play through beginning to end.

Since most of what I put on CD is archival, the "drop the flag" scenario happens in almost every case. I rarely produce CDs for public consumption.

D.
Old 2 weeks ago
  #4
If there’s not an intended segue (as there usually is) I’ll go with dead silence.
Old 2 weeks ago
  #5
Live shows are edited like a studio album except for some audience left in at the end fade.
Old 2 weeks ago
  #6
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tourtelot's Avatar
Some of our clients, on a "produced" CD (think Christmas Compilation) do not want any applause at the ends of pieces and this becomes a problem when the audience "jumps" on the ring out. We then devise a reverb tail to cover the jump. It's quite tricky sometimes.

D.
Old 2 weeks ago
  #7
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Brent Hahn's Avatar
 

Quote:
Originally Posted by tourtelot View Post
Some of our clients, on a "produced" CD (think Christmas Compilation) do not want any applause at the ends of pieces and this becomes a problem when the audience "jumps" on the ring out. We then devise a reverb tail to cover the jump. It's quite tricky sometimes.

D.
Tricky for sure. To that end, when I'm doing recital and church jobs (I'm not a full-on classical guy) I ask for clean ringouts during soundcheck. Compliance isn't 100%, but welcome when I can get it.
Old 2 weeks ago
  #9
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Earcatcher's Avatar
Space between movements: always room sound. Space between pieces: mostly black, unless it is taken from a live performance. In that case tuning is cut out, but room sound stays.
Old 2 weeks ago
  #10
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Quote:
Originally Posted by Earcatcher View Post
Space between movements: always room sound. Space between pieces: mostly black, unless it is taken from a live performance. In that case tuning is cut out, but room sound stays.
Thats' it.
Old 2 weeks ago
  #11
Gear Addict
 

Thank you, all.

" Space between movements: always room sound. Space between pieces: mostly black, unless it is taken from a live performance..."

All my recordings are live performances of various community groups.

What you suggest, is pretty much what I have been doing. I always retain the room sound for inter-movement spaces, although, sometimes I shorten it.

For at least the last 5 years, I have also used room sound between pieces. But, sometimes I will knock down the amplitude of either the entire several seconds, or maybe the "spikes" when there are some, either from noise on the stage, or the audience (if particularly obnoxious).

I just wondered what the real pros did.

Thank you.

DG
Old 2 weeks ago
  #12
Interesting thread. I was taught that it is extremely bad taste to have digital black in between music, so there had to be room tone at all costs. After all, we are creating the illusion of a performance and when you hear the air being sucked into digital black, you are audibly introducing engineering and the bubble bursts. Actually, I do not know of any decent classical music release that has digital black in the gaps, unless there is an artistic or pragmatic reason for it.

In the tape days, there would be special tapes with the room tone of certain venues, so you could copy them and cut before/after the music. With remastered releases, you will often hear that quite clearly.

Nowadays, I keep a folder on my server with a collection of room tones, just in case we did not get a clean one during the session. Anyone who records frequently within time constraints recognises the feeling of having broken down half the recording set and remembering that no room tone was recorded. It's pretty eye-opening what you can get away with, however - I have inserted completely foreign room tones with different mic-setups into recordings and if you are creative, it simply does the job. Everything is better than looping, for sure it is more elegant.

With streaming services being used so much in this day and age, there seems to be a shift, though. I recently heard from a colleague that he was asked to deliver an edited Master without any room tone whatsoever and proper fades, so that each (!) track may be used in playlists without any hiccups at the beginning or ending of the file.

As some around here say so eloquently, YMMV.

Dirk
Old 2 weeks ago
  #13
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hughesmr's Avatar
A special consideration is when recording pipe organ, where the wind sound is considered by many to be an integral part of the instrument. Thus it should (IMO) be retained throughout an entire program. There are labels that do not do this (MDG, for example), but leaving it presents a much more cohesive presentation.
Old 2 weeks ago
  #14
Gear Addict
 

Thank you for that thought.

I anticipate recording a historical theater organ in our town. That's a whole new kettle of fish for me.

DG
Old 2 weeks ago
  #15
Gear Addict
 

For me, generally speaking, going to back draws more attention to the room sound than just leaving it.
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