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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.
Okay, the last thing I want to talk about is the file region. This becomes important because it's basically kind of a way to find and locate all the audio files you're dealing with. You'll find that as you start to work with sessions and make cuts and edits and trims, you'll have a lot of different little pieces of files. What's happening when we actually record something for the first time, or are working with a piece of digital audio, is that somewhere in the hard drive that actual piece exists is a file. Then these waveforms out in the Edit and Arrange window, they actually represent what's on that file, or part of that file.
So, if I go in and highlight a part of this file, that's basically me saying, Hey! Whatever this is, go to the hard drive, find it and play it back for me. (music playing) So, it's gone to find a little bit of the bass. So, visually, that's just a representation of the whole bass file. What happens is that as you start to cut things or add things, they start to end up over here in the file list. So, it's important to be aware of the file list, and use it to work efficiently in terms of finding things, naming things.
What you can also do is grab things from here, drag them out onto the Edit/Arrange window. Or if you delete them, just because they are not out here in the Edit/Arrange window, you can find them by name over here. To give you a little example of what I'm talking about, I've created a file called B_Taco. There is not really any sound in here, but I'm going to go through and make a few cuts. We can see it exists over here in the file or region list. So if I go ahead and delete it, delete a little section, all of a sudden it said, okay, now this represents part one and part two.
It hasn't really changed the audio file on the hard disk, but it has changed these visual representations of parts of the audio file on the hard disk. So, as you keep going, it will keep creating different little regions, so that if you want to go and grab this and repeat it, you can drag it out and repeat it. Or if you get rid of those altogether, and they're gone, you can still go back and grab B_Taco-04 and pull it out and have access to it. So, the file list can get a little bit messy, and one of the things to making files work well is to try and name your files from the very beginning. When that first file is recorded or imported, name them as accurately as possible, so that if you know you're looking for Ray's guitar part, you can go to the file list and go down, find it alphabetically under R for Ray's guitar part, and pull that back in if at some point you accidentally deleted from the Edit/Arrange window.
So, you can think of this basically as where you manage your files, or kind of the filing cabinet. It's not that strange a concept, but it's good to be aware of just because the number of different files that can be created when you start to work with digital audio, especially if you get into multi-track situations. So, that does it for the overview of the different components of digital audio software. Hopefully, by having an understanding of what these different components are, you'll be able to crack open any piece of software and start to get to work a little bit.
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