By Frank Lockwood
The recordings described here were done at the Church of St. Mary Magdalene in Toronto from January to May, 2009. This article is based on a presentation given by Frank Lockwood to the AES Toronto chapter in January 2014.
Editing & Processing The Mix
The next stage was to assemble the whole piece, with the correct timing,
from the various takes. The Pyramix DAW is the choice of most classical music recording specialists worldwide because of its superior editing controls. The crossfades and the sound material can all be shifted in time independently in order to perfectly align the “Out” and “In.” The crossfades can be made longer or shorter, and the fade shapes can be modified as spline curves. The goal is to create a seamless transition from one take to the next so that the listener is not distracted by any sudden shifts or changes in the sound quality that are not part of the music.
I completed the editing from all the selected takes and then identified which sections belonged to either of the two choirs. The Choir II sections, with all the fades, were moved (constrained in time) to four new tracks so that each choir could have its own processing chain.