![]() The program can read many audio files, too, useful if you want to convert from one audio format to another. There's support for opening all the major video types (AVI, MPG, WMV, MKV, MOV, FLV, VOB, MP4, 3GP and more). Perhaps some families figure out how to patch in superior sound, but the video and sound must match up, so there can be no splicing.Pazera Free Audio Extractor is a powerful tool for saving the soundtrack from almost any video file. My favorite prescreens were the DVD recordings because they are impossible to fake. So before you spend thousands on a professional recording, consider which conservatories you are applying to and what their standards are for prescreening. CIM told us that they have a relatively low bar at the prescreen level, i.e., they have more slots for auditions. I know a student who was a Curtis finalist and got a full merit scholarship to NEC but didn’t get through prescreen at Mannes. Mannes has one of the highest bar for prescreening because they have limited space/slots for auditioners. I do know that the bar for prescreen differs from school to school. ![]() Maybe they were just being over-cautious, or maybe it’s just harder at the MM level. One family (who spent a large sum on a professionally recorded prescreen tape for their daughter last year) told us stories of accomplished violinists, seniors at major conservatories, being denied Juilliard auditions because of minor flaws in their tapes. I used to feel exactly as you do, violindad, (hence the totally unedited single-take prescreen last year) but in recent months I’ve heard a few scary tales, albeit about MM prescreens. those recordings without a blemish are either those of people that have edited or those of incredibly accomplished performers who had better produce at the live audition). If anything, the occasional blemish is a mark of honesty (i.e. Therefore, I suspect that they allow some blemishes not to bother them if the prescreen otherwise demonstrates a mature musicianships and command of the instrument. Īdmissions ears are wise to what goes on. In my son’s case, he needed to do considerably more than just make it over the admissions bar–he needed to clear it by enough to get substantial money, so there was no temptation to edit the prescreen to earn a pointless live auditions. If you can’t pass the prescreen (for which the bar is obviously lower than for actual admission) without editing, then you just simply are not going to make it over the admissions bar at the actual live audition. Juilliard, CIM, NEC, Colburn etc.) on one of the most competitive instruments (violin). Neither glassharmonica’s daughter nor my son did any sound edits to their prescreens and both passed their prescreens at the most competitive schools (i.e. Unfortunately, they are usually also more difficult and more expensive to produce than simple audio recordings, which makes the application process that much harder for everyone. Having caught enough people cheating in this manner, schools are increasingly going toward requiring video recordings which are much, much harder to edit undetectably. I completely agree with violindad that editing an audition or prescreening recording is nearly always in direct violation of the clearly stated rules for producing such recordings and should not be done. A typical track on a commercial recording of classical music may have anywhere from a few to over a hundred splices in it and very rarely do you find yourself thinking, “Wow, the sound editor really blew that one.” However, if all of the elements are not right, edits can be pretty obvious when you know what to listen for. With the right equipment and some practice and skill, audio edits can be made so that they are virtually undetectable. Ultimately, those judging prescreens are looking for a person who plays/sings musically, produces a beautiful sound, and displays control over their instrument–these characteristics are usually quite obvious within a minute or so and the tiny glitch or two that one would love to edit out does not negate the musician’s gorgeous sound, inherent musicality, and facility on their instrument. If your playing is marginal enough that it requires editing to get you through the prescreen, then the actual audition is probably a waste of your time–there is no editing a live audition. I think that many judgers of prescreens hear only a portion of them so the editing is likely a waste of time (assuming it is done to fix those little glitches that occur several minutes into a movement) and potentially lethal to your application. Your prescreen would probably be rejected if editing is detected (and the ears of those judging prescreens are very acute and perceptive). It is understood (and usually stated) that no editing of a recorded performance is allowed for prescreening submissions.
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