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Auria is the first major digital audio workstation designed specifically for the Apple iPad, and in this course, author and professional musician Garrick Chow demonstrates how to use its recording, editing, and mixing tools to create great-sounding music. First, Garrick reviews the hardware you'll need to start capturing audio, from microphones to cables and input devices. He then demonstrates how to record anything from a single audio track to a complete multitrack capture of a live band performance, or import audio from other iPad apps with Audiobus. He also shows you how to edit your tracks by adding splits and trims, apply effects, and use automation to create a final mix. Plus, learn to take snapshots so you can save your mix in different states along the way. Last, Garrick reviews the options for exporting your project from Auria in several formats to share it with the world.
This course will be updated regularly as new features are added to Auria, so check back often. Working with a different app? Check out other installments in this series, including iPad Music Production: GarageBand and iPad Music Production: AmpliTube.
Most of the time in Auria and in pretty much all other digital audio workstations, you want one region to play at a time on each track. Now we have already seen that you can have regions overlapping or even on top of each other and Auria's default behavior is to play only the audio from the topmost region, ignoring anything in the regions underneath it. This will let you keep multiple takes on a single track. Occasionally, though, you will want to hear two regions at once, usually when you trying to create a smooth edit between two regions. In those cases you will let the two regions overlap slightly and then add what's called a Crossfade to smooth out the sound of the two overlapping regions.
This is actually much easier to show you than it is to describe it. So let's look at the bass track as an example. Here we have the region that was created when we punched in the section to fix that part of the bass line. Now I am going to play this once, and what you will be hearing is this original region here until we reach the punch point, and you will hear that second region pop in. (music playing) And then once it reaches the end of the punched in region, we are not hearing the original region again.
And in this case it was a pretty good punch, so we are not really hearing any of the transitions, but notice if I select that region and delete it temporarily, we can still see the original performance below it, and I can still play that section. (music playing) So there is a slight mistake we fixed with the punched in part. Let's undo to bring back the punched region. Now this is actually a pretty decent punch so you can't really hear the transition points, but just to use this as an example, I am going to zoom all the way out, or a little bit further out, let's bring the bass track up a little bit larger, and I am going to drag the left end of the main or original region to the right.
Notice when it's slightly overlapped with that punched region, maybe like so. Now this is simulating a situation you might have where you need to transition from one region to another, but the transition might sound too abrupt or obvious, and I am just going to drag the end of the main or original region to the right. Now you wouldn't really be doing this in an Auto-Punch case, but what I really want to do here is make it look like I have two regions that need to transition into each other. So I am just going to slightly overlap them like this.
Now I am also going to tap that original region just to bring it to the front, and now you can see it's overlapping the punched-in region, and now with that overlap we should be able to hear the transition a little bit more. (music playing) All right, so now the transition is much more obvious. So crossfades are a way to smooth this transition.
To create a crossfade, use the Multi- select tool to select both regions, see they are both selected now and then tap Process > Crossfade. That places a crossfade between the two regions, the length of the crossfade matches the amount the two regions are overlapped. Now if I trim the region again, you will see the crossfade size change. The size of the crossfade is something you will have to experiment with to find a good-sounding crossfade. Let's listen again.
(music playing) So that sounds better, but the audio kind of dips down too much at the transition point. Notice we have different types of crossfades to choose from. Now the first one here is Equal Gain, which is the default, and that changes the two regions' volume levels at the same rate. So at the point where they cross in the middle, that's the lowest level of the Gain during the transition. The next one is Equal Power which keeps the some power that fades equal, so there is no dipping down of the audio.
(music playing) That one sounds better to me than the default Equal Gain Crossfade. Next is Exponential, which sort of sits halfway between the two previous settings. You might try this one if the first two sound too obvious or noticeable. (music playing) And in this case, I think it actually dips down a little bit too much.
Now the fourth choice is the S-curve, and it's pretty similar to the default curve, but it tapers more slowly than the perfectly linear setting. (music playing) But again, I think we have too much of that dip down right there in the middle. So I am going to switch back to that second Crossfade. (music playing) I think that sounds the best.
Now you are not always going to need crossfades, especially if your punches are clean, and you should always try to get the cleanest punch as possible during the recording process. But if you end up with a bad punch and don't have the option of rerecording, you can try adding a crossfade to make the punch less noticeable, but my punch was actually pretty good, so I want to set everything back to the way it was. Now I could try undoing, but let me show you manually of how to set everything back. I am going to drag the original region, I am going to drag its end over to the right, and you can see that gets rid of the crossfade. Notice if I want to drag the regions and all the way back to the left, we'll try to get the trim there.
In this case it's actually covering up the original punched region, and we know we won't be able to hear that because we only hear the region at the very top. Now when you have an overlap, you can choose which region sits on the top by holding down on that region, until it pops to the front, obliviously, I kind of moved it there, I was just going to do that, there we go. But I can't tap the punched region if it's completely covered. So I am going to first turn on snapping and set that to Events. This lets me to snap the playhead to the left side of the punched region. Now I'll select the punched region and choose Edit > Cut, that's just going to temporarily remove it.
Now I can zoom all the way back out and just drag the end of the original region back to left. Now the playhead stays where it is, meaning I can now choose Edit > Paste to put that punched region back where it belongs, and that's going to be on top of the original region, so we'll be able to hear it. Of course, I just want to check it to be sure. (music playing) All right, so that all sounds good now, and that's how to work with crossfades, and some bonus tips on how to get the region to sit back on top of another region that's completely covering it.
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