Is there such a thing as Photoshopped audio?
Setting a noise gate for a bass guitar with amplifier noise
Recording acoustic guitar in stereo - should you use spaced or coincident mics?
Clipping and compressing a drum recording to achieve an exciting sound texture
Can you hear the subtle effect of the knee control of the compressor? (With audio and video demonstrations)
Does inverting the phase of one channel of a stereo signal always sound bad?
Audio problems at the BBC - TV drama audiences can't understand what the actors are saying
Q: Why do I have to record acoustic guitar twice?
New vs. old guitar strings: Part 3 - The case for conditioning your guitar strings
New vs. old guitar strings: Part 2 - The case for used guitar strings
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Perhaps the greatest advantage of using optical disks is that when the session is over you dont need to back anything up, you just eject the disk and take it away with you. You can also build up a sound effects library on optical disk which is infinitely expandable. The format of the disk is compatible with SoundStation opticals, even though some of the parameters have to be changed on the fly as the audio is played back. Also, if you have a project which was started on a SoundStation Sigma and the segments were EQd, then you can continue to edit that project and take it back to the Sigma where you will find that all the EQ information is still there. Sabre handles the EQ intelligently, even if it doesnt have the ability to perform it itself.
It does seem that optical disk is the medium of the future. Maybe not in its present form since storage time is still comparatively limited, but the advantages of being able to slot in a disk containing work in progress, finish the work and then take it away with you without waiting must be a great temptation. DAR have been very clever in designing Sabre not to conflict with the other products in their range, and it ought by now to go without saying that the DAR interface is one of the best. Even though there is no touch screen, I believe a SoundStation operator could go straight to Sabre and work it with no training or manual reading sessions. I could see Sabre as a complement to an existing SoundStation set up, so that you could allocate the Sabre studio to smaller jobs, or to segments of large jobs, and then bring the optical disks into the SoundStation studio to finish off the work. Sabre is still not something you could describe as inexpensive, but it will bring SoundStation performance to more studios and more projects.
At the top of the screen their is the familiar DAR directory from which segments are chosen and brought down into the playback sequence. On SoundStation, you select a segment by touching it on the screen and then copying to the playback sequence. Working with the mouse is similar and even offers some advantages.
First, select a segment by pointing and clicking in the usual way. You can then audition the segment by pressing the right mouse button. If its the correct segment then hold the button down and a hand appears with which you can take it down to the playback sequence. Let go of the mouse button and the segment is spotted to the Now Line (the current playback position). If Sabre is reading timecode, then the segment will be spotted to the current timecode. The alternative to spotting is copying the segment which means that the segment will be positioned immediately after the last existing segment on the track, or at the beginning of the track if it is empty.
A particular advantage of the mouse is that you can push the cursor to the edge of the screen, which immediately tells Sabre that you want to examine something which is off the edge. Sabre then scrolls until you can see what you want. There is no equivalent to this in SoundStation since the touch screen doesnt know where your finger is until you touch it, whereas the mouse cursors position is known all the time.