By Simon Langford

ISBN-10: 0203512898

ISBN-13: 9780203512890

ISBN-10: 0415829585

ISBN-13: 9780415829588

No matter if you’re comping a vocal song, restoring an outdated recording, operating with discussion or sound results for movie, or implementing your personal imaginative and prescient with mash-ups or remixes, audio modifying is a key ability to winning sound creation. Digital Audio Editing can provide the suggestions, from the easiest corrective enhancing like slicing, copying, and pasting to extra advanced artistic modifying, corresponding to beat mapping and time-stretching. You’ll manage to steer clear of unnatural-sounding pitch correction and comprehend the aptitude pitfalls you face while restoring vintage tracks. writer Simon Langford invitations you to determine modifying together with his wide-angle view, placing this ability right into a vast context that may tell your offerings while you extra skillfully manage sound. concentrating on recommendations appropriate to any electronic audio pc, it comprises break-outs giving particular keystrokes and guideline in Avid’s professional instruments, Apple’s common sense professional, Steinberg’s Cubase, and PreSonus’s Studio One. The spouse web pages comprises tutorials in all 4 software program programs that can assist you instantly follow the large talents from the booklet.

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Even if you’re comping a vocal song, restoring an outdated recording, operating with discussion or sound results for movie, or enforcing your individual imaginative and prescient with mash-ups or remixes, audio modifying is a key ability to winning sound construction. electronic Audio enhancing promises the thoughts, from the best corrective modifying like slicing, copying, and pasting to extra advanced inventive enhancing, reminiscent of beat mapping and time-stretching.

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Additional info for Digital audio editing: correcting and enhancing audio in Pro Tools, Logic Pro, Cubase, and Studio One

Sample text

TIGHTNESS OF EDITS The next thing I want to discuss is the “tightness” of the edits that you make when cutting and pasting. What I mean by that is, how close to the actual sound itself do you make the edit? In some situations the edit will be made in the CHAPTER 3 27 28 “Zero-Crossing” Edits middle of a word or note or drum hit, but in others (and this is usually an easier option) the edit point will be made in a section of silence (or, at the very least, largely reduced level) prior to the start of, or immediately following, the actual place where the edit should ideally be.

One of the most useful parametric methods is Select Inside Locators, because it quickly and easily allows you to select all regions (including any MIDI regions that are present) between two defined points (the locators). This can be useful for selecting everything in a certain section of a song (a chorus, for example), but it should be noted that it will select all regions that are even in part inside the locators. What this means in practice is that, if you use this method, you might well end up with a number of regions that hang over the edges of the locator points being selected.

So what exactly is a phase-aligned zero-crossing edit? ” In physical terms, if you imagine a speaker cone moving in and out as it plays back a sound, the zero-crossing points on the waveform of that sound would be the points where the speaker is in its “at rest” or “neutral” position. On the actual waveform display this is the point where the line representing the waveform passes through the vertical center of the waveform display (often marked by a faint horizontal line). The reason that we try to cut the audio file at these points is simply to ensure continuity from the end of one audio region to the start of another.

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Digital audio editing: correcting and enhancing audio in Pro Tools, Logic Pro, Cubase, and Studio One by Simon Langford

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