- OW - Cool Edit Pro 2.1 64 Bit
Chamar Riche
When we are working we have 20-30 files in WAV from recorded, than we are copying them to program (it was so far Cool Edit Pro)
than we had a list like on the screen in my post. From this list I can simply choose what i want to edit, then when it is ready (3,4,5 files chosen) insert it
to a timeline and make a multitrack audition export on mp3 and ready.
this is extremly not comfortable, inserting all in timeline is not a resolution so i wrote. only way is to insert all files in one audacity, than open second audacity and than i can make it similar to cool edit pro multitrack.
I did read these steps somewhere on the internet, and I think a 19 step outline for those wanting to record with Cool Edit Pro is something that would be useful for all that want to have a really easy and direct how to guide. Let me say, that I have used Cool Edit Pro on the editing functions before, but until last evening NEVER as my main recording place.
3. Hit the record button, which is obviously the red dot button (commonly known) in the lower left corner of operating buttons. Let the tape preroll (recording) run a blank spot for like 10-20 seconds if possible.
5. Take your mouse, click once in the middle gray bold line that separates your left/right channel. This will but a yellow dotted line there, hold and drag to the left and highlight your tape preroll blank section. This should highlight the whole area (left/right channels) white.
This file should be more then good enough to do further editing, sequencing, etc. I personally use Sonar to do my sequencing, and in the past used it to record everything I ever have recorded on my own. Just obviously import the file into whatever sequencer you are comfortable with.
In the past, all I have ever really used Cool Edit Pro was for AFTER the .wav file was done. In other words post production stuff. Recording with it is so simple, that you can I believe create at the very least some great Podcasts with it; at least Technically Speaking.
bro every time i record on a track it automaticly mixs all previouse tracks together so track 2 contains tracks 1 and 2 track 3 contains tracks 1 2 and 3 and so on
any advice ? pc based cool edit pro CHEERS
Thank you very very very very much man really helped out with the recordings, before i had my head smashed against the wall 99999999 times cause i couldnt figure out how to reduce sound. all works PERFECT now styll.
thanks again!
I have just tried to do it again and I cannot figure out what is wrong. The sound comes through on my computer but CE does not record anything. The audio lines (squiggly lines that show sound, not sure what they are called) do not even show up when the sound is coming through on the line in.
I did the device order thing and I have levels at the bottom of the screen, so CEP is getting something, but nothing shows up in the edit screen so there is nothing to edit but several minutes of blank space.
By accident, I learned the solution to the problem: the input jack was TOO FAR in. If I have it in most of the way instead of all of the way, I get a recording. I worry that a vibration or jostle during a recording will knock it out, but for now it works. What a stupid and unreliable solution!
hi guys
have try it but when i record,recording track 1 and 2 keep recording 2gether pls help, i keep earing the first and second in track 2 pls & pls help email me on luvm...@yahool.co.uk thanks
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my cool edit starts all the way from the beginning everytime I record how can I change this to where I can record in the middle of the track or wherever I gotta listen to the song all the way through to record my third verse
I am trying to record on Cool Edit Pro, however when I try to record and click on the recording red button audio or noise is showing over half way the recording level on both left and right channels. My mike is closed. Please Help me.
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The Shins debut album, Oh, Inverted World, is a testament to the power of home recording. A band with great songs captures those songs using the gear they can afford and manipulates the recording process to turn technical limitations to their advantage. For their second release, Chutes Too Narrow, the band, led by James Mercer, returned to the basement with more experience and some better gear. They also spent some time at Avast! Recording Co. in Seattle with engineer Phil Ek [Tape Op #29]. We sat down with James after he had returned from tour only to find that his house and home studio had been broken into.
I've been working on probably 30 songs over the last two years. I decided to pick ten of those and work on them, finish up the writing process and record them. We began recording probably two months before we ended up going up and working with Phil at Avast! [Tape Op #18] A few of the songs were just done, recorded entirely in the basement, using the equipment I bought, which also included a Digi 001. So I worked with Pro Tools, switching back and forth between Cool Edit Pro and Pro Tools. I like the effects in Cool Edit Pro, so I ended up using those a lot. I actually have a sponsorship with Cool Edit Pro now. They send me stuff.
They did. But, I think I'm going to buy a Mac. It would have made going and working with Phil a lot easier if I had had all Mac-based Pro Tools files. We had some trouble switching from PC to Mac. Not a huge amount, but enough to where it's like, "Why do I care about being on a PC?" I think for a while I was loyal to the PCs because I thought they were more the workingman's computer.
Sub Pop commissioned him to come out and record a live thing in Seattle so they could have extra shit to sell. So we met through that and then met him several times later and he called me a few times. He kind of solicited the relationship, in a way. He's just an easy-to-work-with guy and we got along real well. He helped us a lot. That's the other thing about the new record. There's a lot of vocal overdubs and stuff and on a few of the songs that were actually recorded up there, and we got to use this Telefunken mic, like $11,000 microphone. The LM something [ELAM 251], the freaking wickedest mic ever, so there's that on the record as well, going through an API board. And the record was mixed entirely through all separate channels on an API board, which helped vastly, I think.
No. There was just too much stuff going on. I would have enjoyed doing that, but at the same time by then I was so fucking burnt on the record. If I'd had six months or a month to sit on it I could have done that, but we had to get it done immediately.
Yeah. I bury the vocals and I don't think that's necessarily a good thing. I'm shy about my vocals being loud, and I think you can hear that on the first record. I think there are a lot of benefits we got out of working with Phil. He's not afraid to have the mix expose certain things once in awhile.
A lot of that distortion is the Pro Tools distortion. I thought it worked pretty well. With my Super Reverb sitting there sounding awesome to my ear and then mic'ing it with the 414 or NT-2, even padded down a bit, I wasn't able to get that really nice, full, distorted amp sound. But recording it like that and adding a little bit of distortion digitally really seemed to help. One thing I learned was that I was overdriving the preamp when I shouldn't be. You lose a lot of dynamics and you lose a lot of headroom, I guess, and I learned that on this record. Headroom was something I came to understand on this record just through experimentation.
The melody I had in my head, so what would that be, arrangement? The arrangement I guess. Then we had somebody [Annemarie Ruuljancich] come in and play the violin. I have a violin and I did some half- assed violin stuff on the first record that's barely audible. But yeah, we had someone come in that was great. I had this idea to have these harmonies going on and she was able to do that. It worked out pretty well. That was recorded in Seattle.
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