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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.
In this chapter, we are going to take a look at editing digital audio. We will take a look at what it looks like, what it sounds like, and what's possible. Now, digital audio is really exciting, in terms of editing. It's really the most flexible way to work with audio, ever. It's both nonlinear, which means we can take things and move them all around in time-- we are not stuck on a piece of tape that's moving across a playhead--and it's also nondestructive, which means that we can take our original recorded file and then manipulate copies or parts of that file without destroying the initial recording.
This might sound like not that big a deal if you are used to working with computers. But if you are used to working with tape machines and some of the other recording devices, it's really a big difference in terms of what we're able to do. Now editing is typically working with the visual representation of a digital audio file, so it has become much more of a visual process than it ever was before. This is great. It really lets us zoom in on the sound, look at it, manipulate it in different ways and with accuracy that we might have been capable of before. Or at least maybe some pros we are capable of it, but now we can just look and see what's going on and make some pretty great cuts pretty fast, and really change sounds and change the arrangement of the sounds we're working with.
We can also change the character of these sounds. So I want to start by looking at what makes this all possible, and that's the waveform. So in the next movie, we'll take a look at a waveform.
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