> the "Copy in SF" is cumbersome to handle since any created file has
> to be subsquently manually assigned to replace an existing event

Perhaps I'm misunderstanding but when I right-click the event to "open copy" in my editor (SF6) and make changes it does always return to Vegas as just another take of the event I had clicked.

- Jason

Well I'll be... thanks Jason for pointing this out!! It'll teach me to assume stuff instead of RTFM...

Man, this is really going to help me out. Sorry for pointing out stuff that's already there.

DSG

Also, I'm just curious as to what kind of processing are you required to use Sound Forge for? I'm finding I can do most everything within Vegas and don't really need Sound Forge any longer? The only thing I need Sound Forge for is to reverse events and possibly do some DC offset if needed, and I'm hoping reverse of events would make it into Vegas one of these days.

Hi Red,
I always pop back and forth between Sound Forge and Vegas. Some of the stuff that I do in SF that isn't as easy to do in Vegas alone are:
1) Event reversal (as you mention)
2) Destructive click/pop/glitch removal/smoothing on a track copy
3) Autotuning of vocals. Again I do that destructively on a track copy in SF.
4) Noise reduction. I open a copy of the offending track in SF and "fix" the problem there.
5) Normalization of tracks (I don't think that Switches>Normalize in Vegas is most likely expensive, but this way I know the track stays at the max).

Granted you can do some/all of these in Vegas but 2,3 and 4 are my major areas.
bgc

And I have to add: pitch bend, de-glitching, smooth-enhance...

The main reasons for processing in Forge have to do with fixing, optimizing, or even having a certain sound effect always sound the same on a specific sound. Example: if you're running some time/freq effects (flangers, choruses) accross a 2 second effect, it doesn't always sound the same twice in a row; so to "set" the effect, Forge works. Also, I find the time-stretching doesn't always work well in Vegas; the quality is content dependant.

IMO, one thing that would minimize my trips to Forge from Vegas would be automated effects and EQ. Automated (ie-enveloped controlled) time-stretching would be great too.

DSG

Thanks for the insight. Actually for the items 2,3, and 4 that you mentioned, have you tried the "apply non real-time effect" option? This will do exactly what you're doing within Vegas and will also allow you to do an UNDO within Vegas if you don't like the results.

Hi Red,
I'm familiar with the non-real time effects option.

For 2) I zoom in on the offending glitch in Sound Forge and use the volume or mute tools to reduce/remove it. I don't know how I would use a track effect to do that.
Any tips?

For 3) I don't process the track in it's entirety, I find offending words or phrases, select those and process them in Sound Forge. You can't select individual words/phrases to process in Vegas and process them with autotune unless you cut up the vocal into individual events and process those - which I prefer not to do for organization reasons in case I accidentily nudge an event out of place.

For 4), I agree if you're denoising an entire track apply-non-real-time might work, but it's easier in Sound Forge if the denoiser needs a noise profile (which means you need to select the particular section of audio with only noise).

Sound Forge also gives me an Undo feature. I can definitely see if you're used to the apply non-real time effect method you don't NEED to switch to Sound Forge. At this point I'm so used to it, it's on autopilot so it'd be more effort for me to stop :)

Actually I use soundforge for most of these things that you listed, because like you I'm a creature of habit and just feel more comfortable doing it there. For the click removal why don't you use the Noise reduction plugin? It sounds like you have that if you're taking noise prints and doing noise reduction. You can quickly remove clicks, gliches, and pops, with the "click and crackle" remover in the noise reduction bundle. The other method I sometimes use to remove a gliche is to zoom in on it and grab the pencil tool and draw the gliche out within Sound Forge. If there's a lot of clicks that need to be removed then the "click and crackle" remover is your key. I think this would work much better than just reducing the volume or muting it like you have.

Totally agree. I was talking about rare, intermediate clicks, like what you get on a speech/vocal track before a word or such (spit, teeth, tongues, etc. getting in the way) that I use the pencil for. When it comes to click removal I sometimes use the noise reduction, but for music it sometimes gets a little agressive and I use the pencil. Especially for loops which are fairly small.
bgc

What a second, this was a friendly, helpful thread. We can't break tradition and have that!
You talentless hack!! You're obviously completely unprofessional and out to lunch!!

Sorry couldn't resist. :)
Thanks again for reopening my eyes to the non-real-time fx tool Red.
bgc