By Simon Langford
Even if you’re comping a vocal music, restoring an outdated recording, operating with discussion or sound results for movie, or enforcing your personal imaginative and prescient with mash-ups or remixes, audio enhancing is a key ability to profitable sound construction. Digital Audio Editing supplies the thoughts, from the easiest corrective enhancing like slicing, copying, and pasting to extra complicated artistic modifying, equivalent to beat mapping and time-stretching. You’ll be capable to keep away from unnatural-sounding pitch correction and comprehend the aptitude pitfalls you face while restoring vintage tracks. writer Simon Langford invitations you to work out modifying along with his wide-angle view, placing this ability right into a vast context that might tell your offerings at the same time you extra skillfully manage sound. targeting recommendations acceptable to any electronic audio laptop, it contains break-outs giving particular keystrokes and guideline in Avid’s seasoned instruments, Apple’s good judgment seasoned, Steinberg’s Cubase, and PreSonus’s Studio One. The spouse web pages comprises tutorials in all 4 software program applications that can assist you instantly observe the large talents from the e-book.
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Additional resources for Digital audio editing: correcting and enhancing audio in Pro Tools, Logic Pro, Cubase, and Studio One
Let’s take a typical live-band recording situation where we have the abovementioned drum kit recorded with multiple microphones, a bass guitar, a rhythm electric guitar part, a lead electric guitar part, perhaps an electric piano part, and a lead vocal and two backing vocals. Now let’s assume that we have carefully edited the drum parts, making sure that we don’t have all kinds of phasing/ghost note issues, and we are now looking at the other parts that are providing the groove and feel of the track.
In the case of a drum kit, the closer the mics are to the drums they are aimed at and the more directional the mics are, the better, as it will minimize any spill and therefore minimize any of the associated problems, but, to be perfectly honest, I think that it could go without saying that any kind of editing should be done (or at least checked) in context. There is a whole chapter later on multi-track comping that looks at this in more detail and offers a few potential solutions as well, but it is worth mentioning here.
Just how close this should be is a matter for debate. It is always easier to line up an audio file to where you want it (or to other audio files) if the actual sound starts at the very beginning of the region in the Arrange window. Equally, though, you might prefer to leave a little bit of room at the beginning or end of the section that you want to cut or copy, just to make sure that you don’t cut off anything from the sound that you didn’t mean to. You should never underestimate the listener’s ability to hear the tiniest things.
Digital audio editing: correcting and enhancing audio in Pro Tools, Logic Pro, Cubase, and Studio One by Simon Langford