EDITING AND MIXING .

Sound editing is a post production process involving selection, rearrangement, cutting, and
re-recording of sounds. It is also done to give a creative effect through new juxtapositions of
speech, music, sound and silence.

The basic functions of editing are:

1) Shaping a Programme: The recordings are rearranged in a logical and natural flow to
structure a programme having a beginning, a middle and an end. Therefore, certain
portions of the recorded programme, such as, repetitions or undesired parts may have to
be removed by editing. If there is a sudden change of mood or subject, a pause may be
added.

2) Timing a Program: The recorded programme is adjusted to fit into this predetermined
duration. The duration of a programme is usually kept a little short and in no case should
exceed the allotted time.

3) Cutting of Unwanted Material: It removes the uninteresting, repetitive or technically

unacceptable parts. For example: During recording, there could be some slips of tongue,
'hems', needless long pauses or other mistakes in reading a script. All these need to be
cut.

4) Retakes: If certain parts of a programme are not recorded to the full satisfaction of the
producer, retakes may be taken and inserted.

Sound editing helps in designing a complete package, setting the mood, pace and flow of the
story, and communicating the right aesthetic to the audience.

It is key in creating an emotion evoking masterpiece to which the audience can connect. It offers
a final chance to clarify and intensify the intended meaning.

It is thus both an art and science as it requires technical knowledge or tools and softwares, and
artistic storytelling skills with a creative outlook.

EDITING PROCESS

Each recording method (such as linear, non linear, etc.) has its own editing procedure. However,
they all involve some common basic steps.

The first step of the audio editing process is listening to the original recording. This gives the
producer an idea of whether the production has all the elements that are needed.
Next step involves identifying the portions that need to be deleted. Here emphasis is laid on the
dialogues. The beginning and the end of the unwanted portion are marked for cutting and later
rejoined for uninterrupted flow. During the dialogue editing phase, the sound editor is also
focusing on EQ, monitoring the frequencies of the dialogue sound and removing any
frequencies that are unwanted from the file.

The next step is to add in sound effects that will make the performances more realistic and
engaging. For example: Foley of a door slamming, a glass dropping, or a person walking across
the room or any other sound to accompany the action being performed on the screen.

It is followed by the layering of ambient sound such as birds chirping, people talking, etc.

After everything happening on the screen has already been given a dedicated sound, the music
is added to create a mood or enhance emotions.

Finally, all the audio files are mixed so that they are in sync.

TYPES OF SOUND EDITING

● Mechanical splicing

It involved physically cutting the tape at the edit points. A special chalk-like pen was used to
place markings and there were machines that allowed a film editor to view the film while editing,
providing a convenient way to determine more precisely where to cut or splice a particular part
of a print. The two ends of the remaining tape were then joined back together with an adhesive
tape.

● Linear editing

Linear editing is basically selecting audio clips from one tape and copying them in a specific
sequential order onto another tape. It does not allow random access or selection and
arrangement of shots. All tape-based editing systems are therefore called linear because they
involve starting with the first shot and working through to the last shot. It is also known as tape
to tape editing.

Its drawback is that it is time consuming and destructive in nature. Every time it is used, the
quality falls due to wear and tear.

● Non linear editing

The audio information is stored in digital form on computer hard disks or read/write optical discs.
Once audio material has been transferred on to a hard disk or pendrive, it can be manipulated,
cut, rearranged or treated digitally in a variety of ways depending on the software used.
An advantage of this over other methods is that it is non-destructive editing i.e it leaves the
original recording intact. It is therefore possible to do the same edit several times, or to try
alternatives without any worry of wear and tear.

Once edited, the finished recording can be saved to the hard disk, written on to an individual CD
or DVD, or directly exported to other digital media platforms.

SOUND MIXING

Sound mixing is the process of matching audio levels of all of the sounds- from dialogue, to
foley and the music. A sound mixer must tweak every single audio file in order to make the
production sound clear, crisp, and seamless.
 ADDING SOUND EFFECTS AND MUSIC .
SOUND EFFECTS

A sound effect is an artificially created or enhanced sound, to emphasize or express an action,

mood, or feeling. It is often synchronized with certain actions and can be created with foley and
digital processing, or taken from a sound effect library and the original sound of a scene.
Foley example: The realistic sound of bacon frying can be the crumpling of cellophane.

Sound effects in a radio programme give meaning and sense of location. They add depth and
realism to a programme and help a listener to use imagination. Thus, significantly impact the
audience’s experience.

The term also refers to a process/technique applied to a recording while editing on the software
in the post production stage. Some typical effects used in recording and amplified performances
are:

● Echo: To simulate the effect of reverberation in a large hall or cavern, one or several
delayed signals are added to the original signal with a minimum delay of 35 milliseconds.

● Phaser: To give a "synthesized" or electronic effect to natural sounds, such as human

speech, the signal is split, a portion is filtered with an all-pass filter to produce a
phase-shift, and then the unfiltered and filtered signals are mixed. The voice of C-3PO
from Star Wars was created by taking the actor's voice and treating it with a phaser.

● Equalization: Different frequency bands are attenuated or boosted to produce desired

spectral characteristics.

● Time stretching: Changes the speed of an audio signal without affecting its pitch.

● Filtering: Boosts or attenuates certain frequency ranges using lowpass, high-pass,

band-pass or band-stop filters. Band-pass filtering of voice can simulate the effect of a
telephone because telephones use band-pass filters.

Some functions of sound effects are:

- Defining Space

Sound defines space by establishing distance, direction of movement, position, openness, and
dimension. Thunder at a low sound level tells you that a storm is some distance away, as the
storm moves closer, the thunder grows louder.
By varying sound level, it is also possible to indicate direction of movement. As a person leaves
a room, sound will gradually change from loud to soft: conversely, as a sound source gets closet
level changes from soft to loud,

- Focusing Attention

It draws attention and provides the viewer with a focus. In a shot of a large room filled with
people, the eye takes it all in but if a person shouts or begins choking the sound directs the eye
to that individual.

- Establishing Locale

Sounds can establish a locale. Example: honking car horns and screeching brakes place you in
city traffic and the whir and the clank of machinery places you in a factory.

- Emphasizing Action

Sounds can emphasize or highlight action. A person falling down a flight of stairs tumbles all the
harder if each bump is accented. A car crash becomes a shattering collision by emphasizing the
impact and the sonic aftermath-Including silence. Creaking floorboards underscore someone
slowly and methodically sneaking up to an objective.

- Intensifying Action

It increases or heightens dramatic impact. A car's twisted metal settling in the aftermath of a
collision emits an agonized groaning sound. In animation, sound and music) intensifies the
extent of a character's running, falling crashing, skidding, chomping, and chasing

- Depicting Identity

Barking identifies a dog, slurred speech identifies a drunk, and so on. But on a more
informational level, sound can also give a character or an object its own distinctive sound
signature: the rattle sound of a rattlesnake to identify a slippery villain with a venomous intent;
thin, clear, hard sounds to convey a cold character devoid of compassion, labored, asthmatic
breathing to identify a character's constant struggle in dealing with life.

- Setting Pace

Sounds, or the lack of them, help set pace. In a war battle, bomb bursts can vary from boom
boom boom to boom, then a few pauses, followed by boomboom. Additionally, sounds of the
bullets hitting or ricocheting off different objects can add to not only the scene's rhythm but also
its sonic variety.
 MUSIC

Music is used in different ways on radio. There are programmes of music and music is also
used in different programmes. These include signature tunes, music used as effects in radio
plays and features.

The basic elements of music are pitch (which governs melody and harmony), rhythm (and its
associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre
and texture.

Music in a production can have three uses: as production source, as source, and for
underscoring.

Production source music emanates from an on-screen singer or ensemble and is produced live
during shooting or in post production. Source music is background music from an on-screen
source such as a stereo, radio, or jukebox; it is added during post. Underscore music is original
or library music added to enhance informational or emotional content.

One essential difference between sound effects and music is that sound effects are generally
associated with action and music with reaction.

Music can be added for the following purposes:

- Establishing Locale

Many musical styles and themes are indigenous to particular regions. Example: Beats tribal
drums usually remind us of Africa.

- Emphasizing Action

Example: A dramatic chord underscores shock or a moment of decision. A romantic theme

highlights that flash of attraction between lovers when their eyes first meet. Tempo incrocing
from slow to fast emphasizes impending danger.

- Intensifying Action

The scariness of sinister music builds to a climax behind a scene of sheer terror and crashes in
a final, frightening chord. The repetition of a short melody, phrase, or rhythm intensifies
boredom, the threat of danger, or an imminent action.

- Depicting Identity
Music can identify characters, events, and programs. A dark, brooding theme characterizes the
bad guy. Sweet music indicates a gentle, sympathetic personality. Strong, evenly rhythmic
music suggests the relentless character out to right wrongs.

- Setting Pace

Music sets pace mainly through tempo and rhythm. Slow tempo suggests dignity, importance, or
dullness; fast tempo suggests gaiety, agility, or triviality. Changing tempo from slow to fast
accelerates pace and escalates action; changing from fast to slow decelerates pace and winds
down or concludes action. Regular rhythm suggests stability, monotony, or simplicity; irregular
rhythm suggests complexity, excitement, or instability. Using up-tempo music for a slow-moving
scene accelerates the movements within the scene and vice versa.

- Unifying Transition

Music is used to provide transitions between scenes for the same reasons that sounds are
used: to overlap, lead in, segue, and lead out. Overlapping music provides continuity from one
scene to the next. Leading-in music establishes the mood, atmosphere, locale, pace, and so on
of the next scene before it actually occurs. Segued music changes the mood, atmosphere,
pace, subject, and so on from one scene to the next. By gradually lowering and raising levels,
music can also be used to lead out of a scene. A complete fade-out and fade-in makes a
definite break in continuity; hence the music used at the fade-in would be different from that
used at the fade-out.

- Recalling or Foretelling Events

Example: A character begins to tell or think about the first time she saw her future husband at a
party as the music that was playing during that moment is heard. A soldier kisses his girl
good-bye as he goes off to war, but the background music indicates that he will not return.

- Evoking Atmosphere, Feeling, or Mood

It can evoke feelings that are obvious and easy to suggest, such as love, hate, and awe, and
also subtle feelings such as friendship. estrangement, pity, and kindness. Music can convey the
most obvious and the subtlest of moods: ecstasy, depression, melancholy, and amiability.
 AUDIO FILTERS .
A filter is a circuit capable of passing, boosting (amplifying), or attenuating (cutting) certain
frequencies. It can extract important frequencies from signals that also contain undesirable or
irrelevant frequencies. It filters out the noise or reduces the interference of the external signals
that could affect the quality or the performance of any communication system.

For example: Suppose you are recording a vox pop in a crowded market. You are unable to
hear the speaker’s voice due to the noise from the surroundings. This voice can be boosted with
the help of a filter.

Filters are used to clean up a signal or shape the sound creatively.

The four primary types of filters include:

1. Low pass filter

It passes frequencies that are lower than the cutoff, and progressively cuts the frequencies
above the cutoff.

Mainly, the low pass filters are utilized in audio applications and filters out noises from any
external circuit. After the high-frequency signals are filtered, the resulting signal frequencies get
a crisp and clear quality.

2. High pass filter

It is the opposite of a low pass filter. So in this case, frequencies below the cutoff are removed
while higher frequencies are preserved.

It is mainly used to remove rumble and any other noise below the lowest fundamental frequency
of a sound. It is also used to create tension before a drop, so there is more of an impact when
the low-end returns.

3. Band pass filter

It is a combination of a low-pass and a high-pass. It progressively removes frequencies both

below and above the cutoff, passing only a narrow “band” of audio.

To use a bandpass filter, you first select the bandwidth (say 600-820 Hz). Frequencies within
that range will then be boosted. Those outside the range are attenuated. It comes very handy
when you need to isolate only a select range of frequencies.
Bandpass filters tend to sound brittle and tinny, and are useful for imitating speakers with a
limited range of frequencies, such as clock radio speakers and intercom systems. They can be
applied to human speech to sound like an old telephone. They can also enhance the warmth of
the sound by isolating and boosting low-mids.

4. Notch filter

Band-stop filter is sometimes called a band-reject or notch filter. It is the opposite of a

band-pass filter that passes everything through except the band of frequencies around the
cutoff.

This is useful for attenuating mic feedback in live settings, or for removing electrical hum,
without affecting the audio in any noticeable way.
 EVALUATION .
The programme evaluation process is essentially about problem solving and creatively seeking
new ideas to meet the programme aim. It can be done on the following aspects:

● Production evaluation

Firstly, the programme should meet the proper technical and operational standard. This means
there is no audible distortion, the intelligibility and logic is obvious, the sound quality, balance
and levels are correct, the fades and other transitions are properly executed, the pauses are not
abrupt and the edits are unnoticeable.

Secondly, a statement of purpose should be formulated for every programme so that it has a
specific direction and aim. This involves identifying the target audience, how the programme
intends to serve that audience, and how well does it set about doing it?

Thirdly, a professional evaluation of content and format should be done. This assesses whether
the interviews up to standard, the clarity of the script, the delivery by the presenter, what was
unique about the programme, how it appealed to the target audience, and what can be
improved.

● Programme quality evaluation

It takes eight components into consideration:

1. Appropriateness: Does the programme meet the needs of the audience while respecting
its educational, social or cultural background.

2. Creativity: Does the programme have the element of originality, innovation, and
creativity, so that it combines the science and logic of communication with the art of
delight and surprise. This leaves a more lasting impression, differentiating the
memorable from the dull, bland or predictable.

3. Accuracy: Are the facts presented in the programme accurate and honest, and giving a
balanced view in the sense that they are fair to people with different views.

4. Eminence: A quality programme is likely to include talented and established performers

and writers who are eminent in their own sphere. Their presence gives authority and
stature to the programme.

5. Holistic: The programme should not only be logical but also emotionally provoking to
arouse feelings of awe, sadness, excitement – or even anger of injustice.
 6. Technical innovation: Is the programme daring – either in the production methods or the
way in which the audience is involved?

7. Personal enhancement: The programme should have some effect on the listener such
as to give pleasure, to increase knowledge, to provoke or to challenge.

8. Personal rapport: The listener intuitively appreciates a programme that is perceived as

well researched, meticulous, diverse and deep, or has personal impact – in short, is
distinctive. He then identifies not only with the programme and its people, but also with
the station. This way programmes earn a reciprocal benefit of loyalty and sense of
ownership.

● Audience evaluation

Before the production, audience research tells the broadcaster specific facts about the audience
size, their listening habits, reaction to a particular station or to individual programmes, and their
interests and preferences. This measurement and discovery of audiences is important to
producers, station managers, and advertisers or sponsors who buy time slots on different
stations.

Constructing a properly representative sample of interviewees is a process requiring extreme

precision and care.

Several methods of measurement are used and, in each, people are selected at random from a
specific category to represent the target population. A correct sample covers all demographic
groups and categories in terms of age, gender, social or occupational status, ethnic culture,
language and lifestyle, etc.

After production, it tells whether the programme was successful in fulfilling its aims. For
instance, did the intended message reach the audience? What are their views on presenters
and other competitors? Did their channel preference become favourable in your station? Did
they take the action your programme aimed for them to act upon? One of the key questions is
always to find out why someone did not listen to your programme.

To answer these questions, a survey is taken where people may be interviewed face to face or
on phone, respondents complete a listening diary, or a selected sample wears a small personal
meter that records what stations the wearer has been in the audible presence of during his or
her waking hours.

Another system involves wearing a watch that records and compresses four seconds of sound
during every minute that the watch is worn. At the end of a period (daily or weekly) the data
contained in the device is sent to a computer via a telephone line for analysis.
Another method of research is through research panels scattered throughout the coverage area
taking qualitative feedback on programmes by means of a questionnaire over time that may
usefully indicate changes in listening patterns. Such panels are also appropriate where the
programme is designed for a specific minority, such as farmers, hospital patients, a particular
ethnic or language group etc.

Before large-scale use, any draft questionnaire should be tested with a pilot group to reveal
ambiguities or misunderstandings.

In some cases, letter responses may also be taken although it has many limitations.

● Cost evaluation

The involved formulating a budget covering all programme costs. It includes staff salaries, office
overheads, studio time, transmission costs, copyrights, permissions, cost of research, hiring of
equipment, survey costs, etc.

Furthermore, if information about the size of the audience is available, the cost per listener hour
can be taken out by dividing the cost per hour by the number of listeners. This is an important
indicator. It should be decided what cost per listener hour is acceptable for the programme
format.

Relatively cheap programmes which attract a substantial audience may or may not be what a
station wants to produce. It may also want to provide programmes that are more costly to make
and designed for a minority audience such as the disabled or for a specific educational purpose.
These will have a higher cost per listener hour, but will also give a channel its public service
credibility.

Thus, it is important for each programme to be true to its purpose – to achieve results in those
areas for which it is designed.