Luis_Br wrote:Yes, my question was a kind of rhetorical one. Editing was hard in the old days, it is much easier today with pure software, so players are generally more involved nowadays.
Well the player might have been physically present before - I think there was a reference somewhere to Bream saying something the effect 'there's a good take on that bit of tape over there' - and they might well still be present in front of the screen now.
I seem to remember that Bream had a team of two, and they all shared the same initials - the recording engineer and the producer as well as he. I think all three would have been involved in the editing, the engineer actually wielding the blade.
It occurred to me listening to it again just now, this time with studio headphones (DT100s) that there might be a couple of other places where an edit happened, and it seemed to be where there was the tiniest bit of out-of-keeping timing. That's the issue with the place that has been mentioned, where it seems the top A at the end of the rising chromatic scale is reached a fraction earlier that you would, plus perhaps a mismatch in the resonance across the edit. I imagine the editor would have used the 45 degree cut on the editing block, but then again if there wasn't time, and it had to be the 90 degree cut that would emphasise the inevitable if slight difference in underlying resonance. The point about that being that although its a rising chromatic scale, those notes will be throwing off harmonic resonances (there was a thread about this recently!) and the precise level of that sound as the two bits of tape are joined might be the issue.
Also on the exact timing thing, its way easier to experiment and move your audio round in a digital editor. I suspect analogue editing was probably more or less done in one go, replying on experience, but that would make it likely for tiny less than ideal moments to creep in.
I do know a bit about cutting tape because many moons ago - the 1980s - when I was involved in some audio things, that's exactly what we did. You had your tapes, some sticky tape (white so you could spot it coming) a razor blade, and an edit block with a gulley for the tape and three cut channels, straight across in the middle, or 45 degrees either way on either side. If you can use the 45s it helps blend the longer, often background atmos (short for atmosphere) sounds which back then included tape hiss, as well as microphone and mixer self-noise and any background noise. The only things I edited in an intensive way were spoken word scripts, editing out mistooks etc and I recorded some guitar things but in one take, then editing the pieces together into a single tape for ease of copying onto cassette. I don't think it occurred to me to try to edit round fluffed notes or join together different takes.