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Digital Audio Editing: Correcting and Enhancing Audio in Pro Tools, Logic Pro, Cubase, and Studio One, by Simon Langford
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Whether you’re comping a vocal track, restoring an old recording, working with dialogue or sound effects for film, or imposing your own vision with mash-ups or remixes, audio editing is a key skill to successful sound production. Digital Audio Editing gives you the techniques, from the simplest corrective editing like cutting, copying, and pasting to more complex creative editing, such as beat mapping and time-stretching. You’ll be able to avoid unnatural-sounding pitch correction and understand the potential pitfalls you face when restoring classic tracks. Author Simon Langford invites you to see editing with his wide-angle view, putting this skill into a broad context that will inform your choices even as you more skillfully manipulate sound. Focusing on techniques applicable to any digital audio workstation, it includes break-outs giving specific keystrokes and instruction in Avid’s Pro Tools, Apple’s Logic Pro, Steinberg’s Cubase, and PreSonus’s Studio One. The companion websites includes tutorials in all four software packages to help you immediately apply the broad skills from the book.
- Sales Rank: #720025 in Books
- Published on: 2013-10-07
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 7.75" w x .75" l, 1.49 pounds
- Binding: Paperback
- 336 pages
About the Author
Simon Langford is a professional music producer and remixer, with close to ten years of experience. He has worked on over 300 remixes, and has had tracks of his own in the UK National Top 20 Single Chart and the US Billboard Dance Chart. Simon is a regular contributor to Sound On Sound magazine and the author of The Remix Manual (Focal Press).
Most helpful customer reviews
2 of 3 people found the following review helpful.
A good read. A welcome addition to your arsenal.
By Bob Feeser
We are often faced with the challenges of operating the plethora of tools available in today's advanced DAW's, and there are a lot of technical publications geared at just that. Although this book glances at some of those specifics, it doesn’t go into them too deeply. What it does is look at recording conceptually.
The author has provided three main sections; corrective editing, creative editing, and restorative editing. Each section is comprised of several chapters. Even though the book centers more on the theoretical, at the end of every chapter it concludes with a hands-on approach. Comprehensively enough the hands on sections cover each of the most popular DAW’s mainly Pro tools, Logic One, Cubase, and Studio One.
My first computer-based recording system comprised of a Windows DOS based 286 with a MIDI card that would record digital based instruments, mainly my Roland synth while at the same time producing an SMTPE time code in order to sync with my Sony 4 track reel to reel tape recorder which would handle all the analog instruments such as guitar and voice. The author reflects on that era and how it evolved into the here and now.
This book being grounded in theory as well as some hands-on is a good treatise for the intermediary technician looking for a way to conceptually approach their art. The author has a lighter prose style and understands the material so well that his conceptual jargon is easy to understand in light of the application he is trying to illustrate. All in all an enjoyable read as well as an enlightened one
0 of 0 people found the following review helpful.
This is an excellent technique instructional
By Jerry Saperstein
First, this is NOT intended for audio recording and editing neophytes!
It is for the experienced editor who wants to learn advanced techniques for corrective, creative and restorative editing. While primarily oriented toward Pro Tools, Logic Pro, Cubase and Studio One, the techniques can be applied to any moderately sophisticated DAW (Digital Audio Workstation). You may have to search for the specific controls in other programs.
The book is principally text with a few black and white illustrations which some have found fault with. I don't: this is a book filled with specific instructions and explanations of what you are doing a certain thing. It is not a learn-by-pictures kind of thing. It is a teaching manual, not a picture book.
For example, the (very detailed, very interesting) chapter on time-stretching has twelve solid pages of explanation on what time-stretching is before it moves to ten pages of application specific instructions.
For the audio technician who knows something, but not everything, this is an excellent technique instructional. For those who are just starting out, look elsewhere.
Jerry
0 of 0 people found the following review helpful.
Not for the beginner teach-yourself learner
By Connie
If you already have a basic understanding of digital audio editing and work with digital equipment, this may be a good book. It covers all the areas audio editors need to know with today's digital equipment. Topics covered include:
Corrective editing; cutting copying, pasting and moving
Fades and cross-fades
Level control
Tonal matching
Comping and alternate takes
Multi-track comping
Transient Detection
Creative editing: beat-mapping and recycling
drum replacement
time-stretching
Elastic audio
pitch-shifting
Restorative Editing: third dimension
Spectral editing
Applications of audio restoration
Demixing
sound design
Because of the lack of illustrated step-by-step instructions, though, this is not a book for those who want to teach themselves this art form. This book reads more like a text book for intermediate-to-advance audio editors.
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