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STEREO EDITING: PART 1
In the first part of a new series, Paul White looks at the practicalities of stereo
editing. So, if you plan piling your stereo mixes into an album master,
you'd better read on.
I'll start this short series with an overview of the tools
required for stereo editing, and I'll be following on from
this in ing months with workshops focusing on the
editing process itself. Editing is a subject that doesn't get
a lot of coverage, yet it is an important stage in the life of
most musical projects and one which often occurs some
time after mixing pleted. For those projects that
aren't going to mercially mastered, some of the
elements normally associated with mastering may even
need to be included at the editing stage.
Editing vs Mastering
I run a small studio in order to keep up to date with recording equipment and techniques,
but the majority of mercial work as I undertake is associated with editing, or
combined editing and mastering, for small-budget independent releases. Clients generally
expect to arrive at the studio with a DAT tape containing various different mixes of each of
their tracks, and it's my job to create a perfect version destined for the finished album. The
client may also want to change the structure of one or more songs by, for example, adding
or removing chorus