All standard XLR cables have one female end and one male end.
All standard XLR mics have a male output.
Any standard XLR device that receives a signal will have a female input. Standard XLR outs from a device will be male.

The only time this may be different is at some hotel PA installations to prevent someone from using standard cables to input a signal to the house system.

The other use for XLR gender changers is to convert an XLR to TRS cable between inputting or outputting.

Not all adapters are bidirectional, so using a gender changer to reverse the hookup of an adapter may not give the desired result.

Soundtrack is worth the price.
What you need to remember is that the sounds aren't "sounds" as you'd think of midi-triggered sounds from your sound card. They are real recordings of some of the best musicians in the world, recorded (generally) at the better studios available, using very high end equipment. They are actual performances, of actual musicians. Therefore, the quality is almost always very good.

Canon XL1S Audio Setup
 

I need some assistance in understanding how to set up the Audio for a XL1S. I would like to use the on board mic and a wireless lav. I will be using the Senn EW100 for the wireless. I know the Senn has a mini out put. Do I need additional adapters or will the Senn plug in with a mini to mini cable, and all is well?

Found it - I was of course looking in the wrong place!

http://www.dvinfo.net/conf/showthread.php?s=&threadid=12726&highlight=EW100

Vegas 5.0 VASST tour officially announced
 

Hey gang, the official Sony/VASST announcement is out for the Vegas 5 VASST tour, featuring myself and Gary Kleiner. We've added a couple cities, but more importantly, added a FREE evening event sponsored by Sony, where we'll be showing quite a bit of software, and going over some of the new features and workflow of the Sony Media Software tools on the evening before the 8 hour VASST training day in each city.
Specifics, including discount information, registration links for both the free and paid events can be found at
www.vasst.com/mailers/sonyblast.htm
Don't forget to check out the Vegas 5 veg contest, some great prizes there, too.
Gary and I are looking forward to meeting you all on the road!

Stinkin' spaces! Sorry. Link is fixed now. Thanks for the heads up.
www.vasst.com/mailers/sonyblast.htm

Sennheiser wireless info from a USENET group
 

Does anyone have a schematic or plans for modifying a Sennheiser Evolution 100
transmitter's input to roll of low frequencies. I am trying to combat the
"motorboating" that occurs when using a Countryman in an automobile.

thanks in advance!
Hi Gerry, I had exactly this problem 15 years ago when I bought 3 x
Sennheiser 2012 radio mike systems.

Small, great design but being German the response was flat from 20Hz
to whatever
and when they were used in a car or on a boat the low frequencies
would drive the compansion system (only one compansion system) into
chaos.

I experimented with an active hi-pass filter round the mic channel but
it
tended to be unstable so I then reduced the input capacitor from 10uF
down
to something like 0.18uF and it changed the performance like a dream.

I suggest you look into such a modification.

Just goes to show that often the guys that design this stuff never put
it to the test like you and I!!!!

Kind regards

Mike

The Sennheiser Evo system does not use a rolloff in the audio path like the
3000/5000 series. In the 3k/5k there is a 24db/octave rolloff at about 80Hz to
allow for transmission of battery information.

In order to design a rolloff filter that will be effective if one uses just a
cap, that is good for 6db/octave. OK, but you'd have to set the knee at about
250Hz to have an effect at the 80Hz you need. Your overall result is very thin
sounding audio. So we need to more components in a different place in the
circuit to get a steeper slope at a lower frequency to do what you want.

I have Sennheiser schematics and I'll do some investigating but at this point,
to cure this electronically inside the transmitter will be expensive and
non-reversible. Better to use a cheap Radio Shack lavalier that has no low end.
--
Regards,

Klay Anderson
http://www.klay.com
Hi Brad,
Your proposed capacitor between the mic leads would roll off the highs
which is the opposite of what you want to do. Replacing the DC
blocking cap that is in series with their input should work. The cap
is C101 and is a 0.22uF capacitor. I would replace it with a 0.047
cap. That would move the first pole from 40 Hz to 160 Hz. The roll
off will be gentle and even though 160 Hz roll off sounds brutal, it
actually won't sound bad on voice.
Disclaimer: This ain't our product and the unit we have may be out of
date. If a Sennheiser expert or someone with actual experience makes a
better suggestion, take it.
Larry F
Lectro
Hi Klay,
Looking at an Evolution we have here, there looks like an 18 dB per
octave roll off formed by C101, C102, and C104. Doing a Spice
simulation, the front end -3 dB point is 30 Hz with a rapid falloff
below that. Using the value of capacitor that I recommended earlier,
the -3 dB point is moved to 95 Hz at 6 dB per octave if the electret
impedance is very high. For real world mics the roll off is probably
at 120 Hz. Again, I would try the 0.047 uF capacitor in place of C101
and see if that is enough roll off. If not, try a 0.022u to roll off
at 160 Hz.

A better way to form the filter is to replace all three capacitors
with 0.1u and thus have a rapid roll off below 65 Hz. This is a pretty
good place to roll off in general and you could just leave the mod in
permanently. IMHO, that is a better universal roll off and is what we
have done for years on units that don't have roll off controls.
Previous posted comments about sticking my nose in, still apply.

Best Regards,
Larry F
Lectro
Hi Brad,
Your proposed capacitor between the mic leads would roll off the highs
which is the opposite of what you want to do. Replacing the DC
blocking cap that is in series with their input should work. The cap
is C101 and is a 0.22uF capacitor. I would replace it with a 0.047
cap. That would move the first pole from 40 Hz to 160 Hz. The roll
off will be gentle and even though 160 Hz roll off sounds brutal, it
actually won't sound bad on voice.
Disclaimer: This ain't our product and the unit we have may be out of
date. If a Sennheiser expert or someone with actual experience makes a
better suggestion, take it.
Larry F
Lectro

(Lectro as in Lectrosonics)

This USENET group is rec.arts.music.production.sound.
If you ever read the USENET groups, this is a good and very high-end discussion about sound. They frequently discuss gear that costs more than my entire sound outfit.

Therre are two groups RAMPS and RAP
 

The best way is to google them. Rec.Art.s.Movies.Prod.Sound is the best followed by Rec.Audio.Pro The information contained in 4 to 5 years of posting from some very big names in the industry is absolutely phenominal.

Regular posters include John Coffey, Glen Trew, Jeff Wexler (mixer of last Samuria), Jay Rose, Ty Ford and many many more. Marty Atias and Oleg Kaizerman who are members herem, are long time contributors to RAMPS and RAP.

Use the links below. Try typing in "boom mic" , "hypercardoid" or "shotgun", and wind up with several days reading. You couldn't buy an encyclopedia this complete. These people know their stuff

http://groups.google.com/groups?hl=en&lr=&ie=UTF-8&oe=UTF-8&group=rec.arts.movies.production.sound

http://groups.google.com/groups?hl=en&lr=&ie=ISO-8859-1&q=search+any+topic&btnG=Google+Search&meta=group%3Drec.audio.pro

Wireless
 

I'm looking to buy two sets of wireless microphones. Right now I am using Samson's cheapest set of wireless, but they don't have channel knobs, so I can only use one at a time, which is a pain. I'd like something that will let me use two mics at once, and is sub 300 dollars a set. Thanks.

AKG PT40 & PR40 are right at $300 a set, work very, very well, and come in about 6 different freqs, in the 800 MHz range. Diversity receive too. I love mine.

live music/VX2100
 

How would I go about getting good sound recording a live band (in a bar) with a VX2100?

What do you have to work with, do you have any other gear than just the camera?

Good is subjective, it depends on what your standards are, it would also help to know what you'd use the footage for. Most importantly , what is your budget.

Read a few pages of posts here in the audio forum, to get a feel for the site and then give us more to work with.

Vegas/Ulead VASST Tours update
 

Hey Gang,
We keep getting lots of emails about the VASST tours, wanted to post updates to maybe save our office manager from replying to so many:
We've got the Ulead VASST tour with Mike Downey and Jeffrey P. Fisher, details at http://www.vasst.com/touragenda/uleadcertagenda.htm
Gary Kleiner and I will be the instructors on this tour, tag-teaming various functions and segments through the day.
With Gary on the tour, we'll be giving away a copy of Excalibur and Neon at each city, plus everyone gets some fun goodies in their attendee bags from Gary.
We'll also have great products from Artbeats, Sony, VASST, and other fun things in the attendee bags. We'll have giveaways from Sony, ADS, Artbeats, VASST, and other manufacturers.
There is a FREE Sony event the night before each full day training event in each city, where we'll be showcasing Vegas, ACID, Sound Forge, and Noise Reduction, you can register for this FREE event on the VASST website, http://www.vasst.com/registration
I think I speak for Gary as well in saying we're looking forward to getting out there and meeting you all, spending time in your city, and getting to know some of you directly.
Audio is a featured section in the day as well.
See you on the tour!!
See full tour details at
http://www.vasst.com/touragenda/vegas5agenda.htm

How are MIPro wireless products?
 

Hi everyone,

I am looking into getting a MIPro MR-801 wireless system. I haven't seen any opinions on this set, and only one review of any MIPro system.

Anyone used this set or other MIPro products?

Mic opinion for mx500
 

Mi search still continue...In italy there are no way to purchase what you want without driving for hundreds ok km. So I decide to order mi mic by internet but... I can't test it with my camera and I have to trust you...so please help me. I would a good mic for my mx500 camera, the sound of the onboard one sometimes it's no clear...
The 2 most named in this forum are:

Apex 191, but it require an xlr adaptor and an hotshoe adaptor

Ezden ECZ-990

Frank gave me his impression about the first one, now I want to know about the ezden, and of course if someone test it with a mx500...

thanks Marco

Hey Douglas, the scoop on the web site sounds awesome! Am all signed up and am looking forward to meeting you in LA.

Marcia

Me64??
 

For general run & gun type video and just a basic replacement for the PD170 mic, is the ME64 a good replacement? I already have a ME66 but want something not so directional for general purpose use. Will the ME64 fit the bill? If not, what Sennheiser can I use that is a basic replacement for the PD170 mic? I want to be able to use my K6 module I already have.

most useful scoring ACID loop CDs?
 

Rather than hijack the thread "building mood with music for dramatic video" (which is relevant and highly recommended) I chose to ask my question separately.

I cheaped-out and bought the ACID Music (Screenblaster) which by various reviews has most of the music creation features of the full ACID Pro. The collection of loops bundled with ACID Music is too heavily hip-hop and techno for my preferences. I would like recommendations from users. Which loop CD collections are the most useful for scoring documentary genre videos? If you could choose any five CDs to score your videos, what would you choose? I found a good deal on loop collections through efolletts.com (an academic discounter) and I'd like input from users so that I buy effectively.

Joseph

Which 5 only?....damn, that's hard.

Any of the Orchestral series.
Any/All of the Bill Laswell libes
Numina
Junkyard Rhythms
American Piano

Are my forced 5 picks. But that's a really tough one.
Any of the Hark Production libraries are great too, but they're not Sony-distributed. I think it's http://www.harkproductions.com and tell Kevin I sent you.

We'll be giving away a bunch of free loop libes on the VASST ACID and VASST Vegas tour, starting in Denver next week.

http://www.vasst.com/training_tours.htm

The 64 is really your only option if you want a less directional mic for general purpose use with your K6.
The 62 is omnidirectional.
The 65 is designed to be a handheld hypercardioid.

Two other mics that might be useful in this situation are the AT3031 cardioid and the AT873r hypercardioid. Each is in the $170 ballpark for the complete mic. They are both phantom only, so if you were also planning on using the mic separately from your camera this might not work out.
If your PD170 mic input is noisy and benefits from a very hot mic, these mics aren't as sensitive as the 64. However they generally work better in loud environments like live music or indoor sports.
They would have the added benefit of being a complete mic, you could still use your K6/ME66 simultaneously.

With any of these choices, you need a good mini-furry windscreen for outdoor use under run and gun conditions. Don't forget to factor that into your cost.

Sony vs Sennheiser Wireless
 

Anyone with suggestions on which I should get? I've been looking at the Sony wireless mic setup and also the Sennheiser. What I want to do is use a wireless lavalier mic but also have the capability to use the transmitter to connect to a mixing board via XLR or 1/4" adapter. Can both these units do this? Anyone better than the other?

Anyone hear of a Neumann-KMR81I shotgun mic?
 

A videographer friend of mine with a bigger budget than myself just picked up a Neumann-KMR81i shotgun mic for his PD-170. Neumann isn't even a company I'm familiar with- when I think shotguns I think Audio Technica or Senheisser. Does anyone know anything about this mic and how it compares against a, say...., Senheisser ME66? Thanks in advance!

http://www.bhphotovideo.com/bnh/cont...=146370&is=REG

Neumann basically wrote the book on microphone design.
After WW2 the Neumann factory that was in the allied zone in Berlin kept producing and was eventually bought by Sennheiser.

The location behind "The Iron Curtain" is now known as Micro Tech Geffel. They also have the right to the Neaumann name.

Neuman designs are what everyoine likes to copy or attempt to copy.

http://www.neumannusa.com/pages/products/history.asp

The KMR81i is supposed to be very neutal and smooth. It ought to be at $1200

GL-2 Signal vs. Noise; Auto vs. Manual
 

so i just did a number of audio tests using my GL-2 w/ beachtek adaptor and AT-897 shotgun (camera mounted, battery powered). and i am confused by the results.

-----------
TEST #1:
audio set on "manual"
beach set on mono (splitting the signal, right?)
beach R and L knobs all the way open (10)
R channel on the GL-2 all the way open
L channel on the GL-2 about 2/3 open

note: these settings gave me a signal that was more-or-less peaking at the green VU dot on the LCD monitor.

-----------
TEST #2:
audio set on "auto"
beach set on mono
beach R and L knobs all the way open (10)
R and L channels on the GL-2 disabled (that's what happens when you're in "auto," right?

note: these settings gave me VU readings that peaked, for the most part, below -12, probably more in the -20 range, though perhaps even below.

------------
RESULTS:
in both tests i used my speaking voice at different volumes (from a whisper to quite loud), in a variety of positions--from 2.5' to about 15' away from the mike. the tests took place in my apartment, so were pretty controlled, barring the occasional passing car, blaring rap or salsa music, outside my window.

i was surprised to find that "auto" seemed to give me more signal, less noise then "manual," which gave an appreciable hiss. and i didn't hear any "pumping" or unpleasant auto-gain effects.

that said, the "manual" signal was quite a bit louder. when i watched the tape on my my TV/stereo, i had to bump the volume down a few notches to more-or-less match the volume of the "auto" take.

so my guts telling me to shoot my audio on "auto," 'cause it seems to be cleaner, but i'm mildly concerned about the output--do i need to worry that there may not be enough audio to work with in post if it sounds fine coming through my system at home?

finally, i'm not doing dramatic work. i just need servicible sound for a low-budget documentary. and i'm not in the market for any additional equipment, just want to make the most of what i have.

and let me tack on a boneheaded, somewhat off-topic Q: nowhere in the AT instructions does it explain which mic switch position is the bass rolled off. i'm assuming it's the hyphen graphic turned down slightly at one end. is that correct? (i performed the tests with both settings; it didn't affect the results.)

thanks for any thoughts on the above,
phb

getting low dialogue levels on the oktava
 

At 2 feet away from a talking head I am getting about -30dbFS. Is that right?

Found it. Vegas Audio has a DIM OUTPUT button that was selected by default that drops your master audio levels by 20dB. "so you can hear the pizza delivery or the phone" per the vegas help files. gee thanks vegas, it took me some time to find this.

Custom Cables for XLR Boxes and DV Cams
 

I wanted to share this with the group cause I feel that if you find someone good, that does a great job at a great price and delivers on what you need, it should be shared.

With that in mind I'll paint the picture. You're using your cam and you add an XLR input box such as a Sign Video XLR pro, you mount it under the camera and you suddenly realize that you can't put your hand in the camera strap because there is a 2" long XLR plug feeding the input from your boom mic in the way.

In the past I'd have ordered the connectors, torn up a cable and soldered up a new cable to fit my needs. Those days and my eyes as well as patience are gone.

After much looking around on the web, I stumbled on several companies however I had a very specific request, I needed RIGHT ANGLE MALE XLR's to input into my XLR-Pro, everyone was offering straight males and right angle females to connect at the mic.

Then I got an eMail from Jim at AVCABLE.com who said he could do the cables, exactly at the lenghts that I wanted and with nice high quality Neutrix connectors which were (you guessed it) right angle!

I also needed a very specific screw on type connector for my Sennheiser 100 receiver as I wasn't in the mood to have it come loose during a shoot. Since the manufacturer chooses to use a screw on conectors I asked if he could spec it as well.

Bottom line (which is the way I shop anyway), is that this shop means business and customer satisfaction. The order that I needed was for (2) 1' XLR mic cables each with a right angle connector for my boom mic and (2) 1' 3.5mm mini-plug with screw on to XLR Male with right angle. Total cost about 85 bucks plus shipping.

This is very reasonable considering that you can drop 20 bucks on a mic cable without blinking (yes that would be for 20 feet) but consider that there is custom work and love in these cables!

Anyway, if anyone finds themselves in my situation and wants to clean up their cable mess on their cam, AVCABLE.COM and Jim Woodier is the man!

His tag line on his email is:

jwoodier@avcable.com
877-229-3601 (toll free)
"Cable Assemblies for Professionals Who Demand Quality"

I am in no way connected to or employed by avcable and this is strickly my personal opinion.

VASST Tour Student Report - Acid Class
 

This was an excellent class with Jeffrey and Douglass. I learned enough in the first hour to more than pay for the class.

Acid is much more than a loop-based music-maker. It really is a good multi-channel mixer and video scoring tool that can also help you make very good music. I think it just displaced Sound Forge as my most important video sound finishing tool.

If you have an opportunity, take this class even if you have no interest in using Acid. You will learn a lot about how to think about scoring a video and how to proceed to complete the project. Douglass adds many fine points about using music to create emotions. As a teaching tool, he made a video clip of a sunset become the prelude to almost any genre of movie just by changing the music.

The sound sweetening tips he gave us for voice-overs were, alone, worth the price of admission. And the tip about using a Senn 416 shotgun for those deep voice narrations was really valuable too.

Tired of your old Royalty-Free sound library. Jeffrey and Douglass will teach you how to spice it up so it sounds new. Perhaps even better than new.

Furthermore, this was no 5 hour class. We started at 9 AM and walked out at 6 PM. Ya get more than your money's worth from this crew. The freebies were nice too.

If you went to the same kind of film school I did, they ignored the contribution music makes to the success of any production. Nothing but lip service.

VASST paid me no money for this unsolicited commercial (nor any expensive gifts, either).

Dang, Mike! Thanks for the very cool review of the day. I've forwarded this to Jeffrey.
As you can see from my absence here on the forum this past week, traveling has kept me from being as active as I usually am and like to be.
It was a great pleasure meeting you, too.
Jeffrey and I love doing the ACID classes, and the Vegas, PPT, Advanced Vegas, Premiere, After Effects, Soundtrack, Now Hear This, and other VASSTs upcoming are just as fun, and hopefully as value-filled as you perceived this day to be.
Thanks again for the kind words, these are what makes it wonderful to be part of VASST.

AT-897 questions
 

I will be using a GL2 to make a short movie. I have been researching different mics and read through many threads in this forum, but am still confused. I have been looking at the AT897 mainly, and need to know a few things.

Can I get an XLR to mini-plug adapter and attach the mic to the top of the camera and still get good sound? Or do I need something like an XLR-pro?

Will I need to use the mic on a boompole above actors heads? Or can I just aim from the top of my camera? The short is going to be filmed in a small quiet room.

Does the mic come with attachments for the top of the camera?

Thanks

last chance for Free NYC showcase
 

Gang,
if you aren't registered for the FREE SONY SOFTWARE SHOWCASE EVENT in NYC for tomorrow, (june 8) GET REGISTERED NOW!
Due to security reasons, the 550 Madison avenue building will NOT allow anyone into the showcase unless they are pre-registered.
We will be turning off registration at 11:00 p.m. EST
http://www.vasst.com/registration/?sony to get registered.

FAiled to mention for those attending, bring PHOTO ID to get into the building~~!!

can i make a boom mic?
 

hi there,
i know this might be a stupid question but i cannot find anyother thread on this. can someone tell me if its worth building my own boom mic and what do you recommend for the mic, maybe even the mic that comes standard with the xl1? also should i make or buy the cable cord for the boom mic,

has anyone got a boom mic? please post pictures thanks!.

Regards,

Hi Gavin!

I am assuming you have the microphone and are talking about making a boom-pole. Correct?

I bought one of those yellow light bulb removers from Home Depot, removed the bulb-gripper part, and added a section to the end that came from an old microphone stand. This works fine. As with any boom pole, don't extend the sections all the way so that it doesn't flex too much. Also, look into insulating the hand-end of the pole. I didn't try to run the wire through the pole...not sure that it's big enough...so I just use clips on the outside.

Currently, I boom with a cardiod studio microphone.

http://www.peavey.com/products/shop_online/browse.cfm/action/details/item/00488040/wc/2A2A23/fam/WM/tcode/3/studi.cfm

What I am lacking is a shockmount for the end, but with careful handling, I get by just fine.

,Frank

dvx100A microphone setting
 

Hello!

I have the Sennheiser ME-67 microphone with the K6 powering module and the AG-DVX100A camera.

Does anyone know about a particular audio setting with this camera called MIC GAIN? You have to set it either at the -50db or the -60db. The manual says it depends on the mic's sensitivity.

Can someone elaborate on that?

Thanks you very much!

The K6 module and most of the capsules that go with it are very sensitive. Generally you'd set the menu choice to -50db for sensitive mics but that may not be enough attenuation for loud situations with hot mics.
If you are recording in a quiet situation or you switch to a lower sensitivity mic, you can set it to -60db for additional gain.

Cheap On-Camera shock mount?
 

Anybody know where I can get a reasonably cheap on-camera shock mount for my GL2?

There are only so many shock mounts in production and they range from $40 to several hundred Canadian. The biggie is going to getting it without getting killed by shipping or brokerage.

You could look at some US sites but you'll be paying big bucks for shipping and/or brokerage. the cheapest way is US post, the brokerage fee is only $5 at canada post and the shipping would be around $12.

Essentially you have the beyer dynamic at around $30 US, followed by the sennheiser at $30 and $50 US. These include a shoe mount.

The AT 8415 is $50 US or $75 canadian and the shoe adapter is another $10-14 US or 419 canadian.

You tell us your budget before i spend any more time. Meanwhile look at B&H in NY or DVshop.ca in Toronto.

http://www.bhphotovideo.com/bnh/controller/home?O=NavBar&A=search&Q=&ci=1449

http://www.dvshop.ca/audio/mounts.html

SMPTE in NYC
 

SMPTE show in NYC next week at the Marriott Marquis hotel, Tuesday from 2:30 to (I think) 9:00 p.m.. Check out one of the most professional-oriented events in NYC. Usually a very cool show.
http://www.smpteny.com/smpteny/
Wish I could attend....enjoyed meeting a few of you in our NYC VASST.

Adobe Audition - For idiots and video guys?? Help??
 

I'm a video editor. I got AA with the Adobe Video Collection about 4 months ago, and have been using it as my primary audio editor during this time. I am still very frustrated and highly inefficient using the program.

I have read the entire owner's manual cover to cover at least two times, and have spent hours looking over the help files, and still, I can't make this program do anything simply or quickly. The manual/files spends pages talking about the difference between destructive/non-destructive editing (which I understand perfectly), then jumps straight into Bandwidths, FFT's, Impulses and Bandpasses?!?!? I have no sound mastering background, so most of the terminology is a foregn language.

I need to do very simple things for video editing such as:

1. Limiting white noise from high gain on mics.

2. Limiting the hum of vehicle traffic in the background.

3. Dealing w/ verbal audio tracks where several people are speaking at different levels - the minister, bride, and groom, all at different levels and distances from the mics. I spend hours getting all the levels somewhat constant. Can I just say "average the clips at x db and the clips at y db, and normalize them all to 90%"? The manual never addresses this simple stuff.

4. Clicks/Pops - This is supposed to be such a wiz-bang tool, but I've never gotten it to work predictably. Often in my audio, there are obvious short, high spikes in the wave form. I'd LOVE to say "if it's over x db, and less than y diraction, consider it a click and fix it" - but no, I have to spend umpteen hours highlighting EACH spike, calling up the click/pop, and selecting "repair single click". I use the auto settings, but they either have no effect, or massively distort the entire clip.

5. Simple fades to different levels in wave edit. I have a quiet section that gets loud, then gets quiet again. I want to smoothly fade up, then back down, much like changing the levels keyframes in the multitrack, but I can't do this in wave edit. I have to select where i want it to ramp down, goto "amplitude", select the proper dB start and end, apply the effect, highlight the center perfectly, then highlight where I want to ramp back up and do the reverse - and if I'm off by so much as a couple samples in the highlight, there's an audiable click. Aufghglkdf!!!!!

I could go on and on. AA is obviously an extremely powerful program, and thus I want to keep using it. However, it is so horribly inefficient for what I use it for. Editing a ceremony with 3 mics takes me about 12 hours - about 5 of which is time spent jacking around with clips in AA.

I've tried so hard to learn this app and am so overwhealmed by it that I just don't know where to start. Can someone please direct me to some tutorials that address some of these simple tasks????