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Index
Cover Half Title Title Page Copyright Page Table of Contents Acknowledgments Introduction
What Exactly Is Audio Editing? Book Format
Chapter 1. Audio Editing 101
Editing History: Tape Editing History: Digital Tape and Hard Disk-Based Editing History: DAW The Here and Now
Chapter 2. Different Aims of Audio Editing
Corrective Editing versus Creative Editing Restorative Editing The Role of the Editor
Section 1: Corrective Editing
Chapter 3. Cutting, Copying, Pasting, and Moving
Why Start Here? The Basics Start at the Beginning Tightness of Edits “Zero-Crossing” Edits “Visual” Editing versus “Audible” Editing Multiple-Track Editing Potential Problems Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 4. Fades and Cross-Fades
Differences between Fades and Cross-Fades Different Fade Shapes
Linear Logarithmic Exponential S-Curve
Different Fade Shapes: Summary Using Fades Using Cross-Fades Phase Cancellation Periodic Patterns Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 5. Level Control
Should This Be a Part of the Editing Process? Destructive versus Nondestructive Edits Different Types of Level Control
Destructive Edits Static Nondestructive Edits Variable Nondestructive Edits Automatic Nondestructive Edits
Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 6. Tonal Matching
What Is Tonal Matching?
Chapter 7. Comping and Alternate Takes
The Search for Perfection Putting It All Together Making the Grade Tonal Matching Pitch Adjustments Timing Changes Comping Made Easy Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 8. Multi-Track Comping
Ideal-World Multi-Track Comping Real-World Multi-Track Comping: Spill Issues Real World Multi-Track Comping: Timing Issues How Can We Fix It? Frequency-Dependent Gating Expand Your Options Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 9. Transient Detection
Why Use Transient Detection? Simple Level-Based Detection Advanced Level-Based Detection Spectral Detection Techniques Possible Applications and Limitations Hands On
Introduction Logic Pro Tools Studio One Cubase
Section 2: Creative Editing
Chapter 10. Beat-Mapping and Recycling
Introduction Beat-Mapping Quality Limitations of Beat-Mapping Recycling Extended Uses of Recycled Files More Creative Uses
Beat-Mapping Recycling
Quick and Easy Multi-Samples Rhythm from Anything Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 11. Drum Replacement
Using Recycled Loops Dedicated Drum Replacement Tools Drum Replacement Tools in Use Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 12. Time-Stretching
Introduction Why Is It So Difficult? The Additive Approach The Granular Approach How We Use It and When We Use It Time-Based Stretches Tempo-Based Stretches Length-Based Stretches Filling in the Gaps “Manual” Time-Stretching Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 13. Elastic Audio (Time)
Definition of Elastic Audio Different Algorithms Advantages and Disadvantages Compared to Regular Time-Stretching Quantization of Audio Files Auto-Conform and Follow Tempo The Best of Both Worlds Hands On
Introduction Logic Pro Tools Studio One Cubase
Chapter 14. Pitch-Shifting
Introduction A Brief History of Pitch-Shifting
Analogue Digital Computer-Based
Different Approaches to Pitch-Shifting Size Matters Formants Uses of Pitch-Shifting Hands On
Introduction Logic Pro Tools Studio One Cubase
Section 3: Restorative Editing
Chapter 15. Editing in the Third Dimension
Introducing the Idea of Spectral Editing Taking Things Further FFT Analysis and Waterfall Plots Spectrograms
Chapter 16. Spectral Editing
Introduction Tools of the Trade Corrective Spectral Editing
Attenuation Copying and Pasting Clicks and Crackle Noise and Hum
Creative Spectral Editing
Compression De-clipping
Chapter 17. Applications of Audio Restoration
The Recording Studio and Beyond Beyond Restoration
Chapter 18. Demixing
What Exactly Is Demixing? Is That Even Possible? How Does It Work? What Are the Applications? Legalities of Possible Uses Fair Use Moral Issues It’s Not All Bad
Chapter 19. Thinking Outside the Box
Sound Design Using and Abusing Audio Editing Techniques
Index
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