Line up re­versed sounds

Future Music - - FEATURE -

Be care­ful with the place­ment of re­versed sounds in your cin­e­matic ef­fects. Sup­pose you’ve de­cided you’re us­ing a deep pi­ano oc­tave as a long ten­sion builder into a spe­cific hit point. It’s highly likely that the bright at­tack por­tion of the original pi­ano record­ing, now at the end of the au­dio file once you’ve re­versed it, won’t sound great, but trim­ming it off will leave your sound fin­ish­ing ‘early’, be­fore the hit point. To com­bat this, move your play­back bar to the hit point, zoom in as far as you can and move the trimmed au­dio file along un­til it ends at the right spot. Then add a 2ms fade-out to en­sure it doesn’t click.

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