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Whether one is producing music, podcasts, game sounds, or film sound effects, Digital Audio Principles provides the tips and techniques that will make the project a success. Author Dave Schroeder explains the basics of digital audio production techniques and covers the essential hardware and software. He also discusses sound theory, frequency response, the range of human hearing, and dynamic range.
Now let's look at the Edit/Arrange window, which we've really been looking at all along. It's this main area where the Timeline and the audio waveforms are. And basically, it's where you're going to do most of your work if you're doing editing. And it's also the great place for visual cues in terms of doing recording, setting up tracks, and playing back and overdubbing. So it's good to know the different pieces of the puzzle in the Edit/Arrange window. So as I've mentioned before, this displays your waveform along a linear Timeline from left to right. You can see up here in the very top of the Edit/Arrange window we have a couple of various different units of measure, we have Bars and Beats, Minute Second, Samples.
You can show or hide those different things and you can set the Grid--these blue lines represent the grid--to different degrees of those things. So right now we're at Bars and Beats. If I get in, we can change it from 1 bar down to a grid based on a quarter-note interval. So you can do different things, and then you can make edits along those grids, we can snap to that grid, the highlight selection. If I go back to the bar, I'll be able to highlight from bar to bar, snap to go.
You can also work in this space, not necessarily in a snap to grid mode--we won't get into that--but there are different modes of kind of how you're able to move the files around in the edit window. The other thing you can do is set markers along this top bar. So if we're playing, and I hit a magic key over here, I can drop a marker and say that will be guitar hit1. And there, sure enough, it shows me that marker. Now, this is convenient if you're working on long pieces of music or you want to kind of note the different sections or transitions from verse to chorus, or where different people start speaking if you're doing interviews or something like that.
So you can do these on the fly, like I just did without stopping and setting it. You just keep moving, but if you're working with longer files, markers can be very helpful. And then a lot of times you can click on that marker and it will take you back to that marker, or you can set up some hotkey commands. A lot of times if you have a numeric keypad to the right of your keyboard, you can actually assign those numbers, like 1 through 5, to take you to marker number 1, marker number 2, marker number 3, et cetera. So markers are something to know about as they make navigating the arrangement very convenient and can make getting around more efficient.
As you may have already seen, the Edit window is where a lot of the editing takes place. The slicing and dicing, the cutting, copying, and pasting, all these things can take place here, I'll restore that. We can also Create New Tracks, see those here in the session, and go ahead and move our audio files from different track to track. So you'll do a lot of arrangement here. They can be big or small. Here I have made the workspace a little bit bigger, and you can see I have kind of made some different versions of this piece of music in these tracks.
Now, one thing to keep in mind is that the edit window itself actually shows tracks, it doesn't show channels, and that's what the mixer shows. So you'll refer to the things you're looking at here as tracks. You'll notice that there are a lot of the same control over tracks as there is over channels. For instance, we have a Mute button, a Solo button, and a Record Arm button, or we can also change the way we look at things. We can change the height of the tracks. We can decide if we want to look at the-- instead of taking the computer power to draw that graphic, because every graphic takes a little bit of processing power, we can just look at it as a big block, or we can look at the waveform or the volume.
This is a nice thing. You can go in and actually change the volume. And this line dictates the volume being turned up and down. Let me unmute that for you. We'll make it a real extreme one for our demonstration purposes. Down and back up.
So that's cool, you can--actually, that's called automating volume control--but anyway, you can look at what's in the track in different ways based on what you're trying to do with the track at that time. You can also obviously zoom way in and out, instead of different views of the waveforms or the relationship of the tracks. Because you're going to be spending most of your time here in the Edit/Arrange window, it's good to get to know the different buttons and features and kind of the different show and hide features. A lot of times you can customize the spaces so that it looks the way you want it to, so that you can just focus in on what you want to work with.
This is your main workspace window, the Edit/Arrange window. Next we'll take a look at the Mixer.
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