Additionally, the smaller capacity of the MinION may be well-suited to the number of avian influenza surveillance samples that need to be sequenced at any one time by an individual diagnostic laboratory. Several studies have described the whole-genome amplification and nanopore sequencing of avian influenza viruses from both wild and domestic bird samples. Moreover, strategies to achieve >99% accuracy (often by increasing the depth of coverage, i.e., increasing the number of reads over each sequence location) in both SARS-CoV-2 and avian influenza virus sequencing have been published. I hate edits going to complete silence, better to crossfade in a bit of room atmos’.Īlthough a variety of approaches and library preparation methods have been described for the sequencing of avian influenza viruses on the MinION platform (e.g., native barcoding kit (SQK-LSK109, PCR barcoding kit (SQK-PBK004), and rapid barcoding kit (SQK-RBK004) ), the performance differences between these methods have not yet been evaluated. It's 'atmosphere' or 'room tone', that is the sound of the room with no one talking which can be used where you want to pause instead of going straight into the next bit of speech. By using short crossfades (useful for the speech edits too) you won't hear any of the edits. one has to be aware of speech tempo and rhythm, as well as background noise and noises-off.Īlways look for as quiet a location as possible to make your recording - even seemingly quiet gardens can introduce their own nightmares both during recording and at the edit stage. A book could be written.īecause I learnt my trade physically cutting tape, I tend not to use crossfades. although the 45 degree cut was a physical means of small crossfades. However, I'll sometimes have to go hunting for a nearby 'silence' in the recording and copy some/all of that to insert at the edit point to keep rhythm. To me, disjointed rhythm makes edits leap out at the listener. Most of the time the 60 degree slot in the standard EMI/Editall block would work perfectly well enough for stereo editing. However, in really tight edits (or if the editor accidentally clipped the start of incoming audio) there would be a noticeable 'flash-edit' where the incoming sound clearly starts in one channel before sweeping across to the other.įor really tight edits the only solution is to break out the brass scissors and try and manually cut a neat 'fish-tail' or chevron. I think most DAWs - and certainly all the ones I use regularly - create very short crossfades at edit points. That works much better in practice than hard butt edits or even zero-crossing edits.Ī 60 degree razor cut on a 15ips tape transitions from outgoing to incoming sounds in around 20ms, but the diagonal cut across a twin-track tape means that one channel transitions 20ms before the other, of course. MOF wrote: ↑ Fri 4:27 pm.did it really happen or was this just a theoretical proposition? but with the advantage that both channels of a stereo pair crossfade together, so no risk of flash-edits! All of the DAWs I use regularly use the same 20ms crossfade at edit points as a standard default. It was pretty much standard practice for the editors and studio working in the BBC Transcription unit who rarely used standard edit blocks. They all used brass scissors and made fish tail cuts routinely on stereo recordings (rather than simple oblique cuts) specifically to ensure both channels transitioned simultaneously. We take that for granted today, but it was tricky in the days of razor blades and sticky tape. The 89 degree slot on the EMI edit block gave near simultaneous edits in each channel, but risked thumps from magnetised blades or if the incoming material came from a different machine.
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