Cool Edit Pro can be slaved to MIDI time code for syncing to a MIDI sequencer, or other recording device. (Note: The optional $49 Audio Cleanup Plug-In adds Click/Pop Reduction, Hiss Reduction, and Clip Restoration to Cool Edit 2000.)ĥ. Effects in Cool Edit Pro that are not standard in Cool Edit 2000 include Chorus, Click/Pop Reduction, Hiss Reduction, Clip Restoration, Convolution, 10/20/30-band Graphic EQ, Parametric EQ, Multitap Delay, a Vocoder, an Envelope Follower, a Pan/Expander, and Sweeping Phaser, and Hard Limiting. Cool Edit Pro comes standard with more than 40 DSP effects, whereas Cool Edit 2000 has about 20. Cool Edit Pro does not offer this as a standard feature, but the optional $29 MP3 plug-in adds it.Ĥ. Cool Edit 2000 comes standard with MP3 import/export. Cool Edit 2000’s optional Studio Plug-In only addresses a single input/output pair for recording and playback.ģ. Cool Edit Pro’s multitrack capabilities include support for multiple input/output devices, so if you have a multitrack audio interface or more than one sound card, you can use all of your devices in Cool Edit Pro. Cool Edit 2000 does not come standard with multitrack mixing, although the optional $49 Studio Plug-In adds 4-track mixing capability.Ģ. Cool Edit Pro offers 64-track mixing, with Record/Solo/Mute controls, Amp/Pan envelopes, and other similar multitrack features. Give it a try by sending your questions to below for a list of the major differences between the two applications.ġ. Syntrillium does not offer telephone support for Cool Edit 2000, but our email support is fast and accurate. Although it does not have all of the high-end features of Cool Edit Pro, it is still very much a professional-level application, and you can expand it with plug-ins if and when you need to do so. If you are just getting started with professional audio recording and/or have a limited budget, then take a look at Cool Edit 2000. Cool Edit 2000 only is available by download. It is more powerful than Cool Edit 2000 and offers more high-end features. If you are an audio professional working in a studio, a radio station, or at a project studio where you need the most advanced audio mixing, editing, and effects processing capabilities available, then you probably want Cool Edit Pro. Syntrillium offers two audio editing applications for Windows 95/98/NT/2000: Cool Edit 2000 and Cool Edit Pro. If you don't overdo it, it sounds like a remaster, hehehe.Quote What’s the difference between Cool Edit 2000 and Cool Edit Pro? The main thing is to get some kick bass in there, and I might throw in some tambs or hihat, just to freshen it up. I'm not a DJ, but the launchpad sure makes it easy to be one.Īnyway, as a side note to this thread, sometimes I overdub my older commercial music in Ableton, as opposed to trying to "EQ" the song into the 21st century. I have an LPK25 for midi keyboard, LPD8 for pads, and a Launchpad. Ableton really opened my mind to the world of warping and samples. I like Ableton, but I started out with Cinescore, then went to Acid Studio. Now I can claim full credit, or criticism. I used to just throw copyright songs in them, but I realized it's kind of cheesy, and amateur. ReLife looks interesting.I'm in music production so I think I'll give it a shot.Can't hurt Hey, that's cool, I like to create music too, to go along with videos. I heard a brief hissing in one of my productions This is why it's important never to clip in the digital realm. There is no way to perfectly reconstruct the original sound. You would just reduce the amplitude then try to reconstruct the peaks by interpolating the existing data:īut what if the original waveform wasn't a simple sawtooth? What if the peaks had had a complex shape? Once the peaks have been clipped there is no way to know exactly what they originally looked like. How do you fix these clipped peaks? Looking at the clipped waveform it may be easy to guess it started out as a sawtooth. Those clipped peaks sound very harsh compared to your original source. The peaks of your nice sawtooth wave have now been "clipped" off at 9. The largest value your system can represent is 9. So all those samples that are two digits need to be reduced to one. Instead of doubling the volume you decide to quadruple it:īut your system only uses single digits at each sample. Instead of ranging from 0 to 4 they range from 0 to 8. It has the same basic sawtooth shape but the peaks are now twice as high. You decide that's not loud enough so you double the volume: That's a simple sawtooth wave that starts at 0k, rises to 4, falls back to 0, and repeats You digitize an audio source and get something like: Say you decide to represent an audio waveform using single digits for the amplitide, 0 to 9.
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