Digital Audio Editing: Correcting and Enhancing Audio in Pro Tools, Logic Pro, Cubase, and Studio One

Well put together. I really is a good help as I am new to editing, especially in Studio One 3.

good book I like that you can work from video tutorials it covers logic X and Pro Tools

I liked this book. I found it to be pretty well written and outlined. It was informative, and not too technical. I certainly recommend it to anyone who is interested in getting an expert's take on the process of editing audio files in order to clean up, optimize, fine-tune, and polish them.I did not love the book however. I thought the author did too much compare and contrast from the old ways to the new ways regarding audio editing. He should have talked about the old ways in the first two chapters, and left it at that. Instead he sprinkled the old ways in the the prose in the later chapters as well. As a result, he muddied his message so to speak.I also would have liked the book better if the author had not tried to organize his book around editing objectives: corrections, creations, and restorations. I would have liked the book much better if the outline of the book had covered the various processes from basic to highly complex. He even admits there is tremendous overlap among the processes with regard to corrections and creations.Lastly, I must comment on the coverage of restorations. This is such an esoteric editing objective reserved to editors who work on old recordings for the most part. I suspect most of the readers of this book could care less about knowing how to do such things. If there is a real demand for that, then dedicate an entire book to it that would cover all the processes as they specifically relate to restorations. But to cover restorations as a separate section in this book diluted what I got from it.I thought the blue pages at the end of each chapter that discussed specifics in the various DAW applications was good. I'm glad the author took the time and trouble to include such material. 4 stars!

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

I received a free item to review.I've read Simon Langford's `Remix Manual' book and was impressed by his ability to communicate deep technical detail in a serious yet lively way. Fortunately the same approach continues in `Digital Audio Editing'.I found `Digital Audio Editing's top-down organization a major strength, framing the techniques and tool discussions into broad categories of Corrective, Creative and Restorative.I especially enjoyed the opening chapters that described a history of audio editing techniques, their context and purpose. It all serves to guide the reader subtly to narrow and focus their goals, increasingly important in audio engineering where the novelty of new software and hardware tools can often intrude, distract and overwhelm the attention span.The individual techniques range from what I'd describe as more rudimentary DAW functionality (cutting/paste/move, fades-crossfades, comps and multi-track comping to techniques requiring more `audio chops' to pull off well (transient detection, drum replacement, time-stretch, pitch-shifting and spectral editing.A second organizational plus is the division of most chapters into a discussion followed by a tutorial. If you're in a reading/contemplative mood you can bypass the hands-on and vice-versa. This works better for me than books and articles that attempt to integrate the two - pulling your focus back and forth.Although the book specifically targets Pro Tools, Logic Pro, Cubase and Studio One, the techniques and functionality are for the most part applicable to all DAWS. Langford admirably shows no particular bias and the information should be easily transferable by anyone with an intermediate-level understanding of their particular tools.

I bought the book a few months ago and it's been my go-to source ever since. I've been using Cubase for a while and found it baffling for many seemingly simple tasks but this book has solved them all. There are also some excellent accompanying online videos the book gives details on. Two great things about both: Simon not only explains how to do things but also why and which approach is most appropriate, and things are presented at a sensible pace that you really get under the skin of the challenges. I'm a drummer but I've recorded the whole band into a 16-track hardware unit, then uploaded into Cubase. The book has been a great help with fixing timing issues and editing sound files to best effect. Much more helpful than the official Cubase videos or manual!

I bought this book because I'm getting into mixing with Studio One and wanted to know more about editing, especially the powerful tools it includes to handle things like transient detection, time stretching, drum replacement, etc. For mixing in general I have the usual suspects (Senior, Izhaki et al.) and they cover things like compression, EQ, etc. in great depth but, understandably, they don't go into much detail when it comes to the specifics of editing, it's a big topic that can't be covered well in a single chapter or two, so Digital Audio Editing fills that gap quite nicely. The fact that it also tells you how to do it in the four most widely used DAW platforms is the icing on the cake.It's exactly what I was after: a theoretical explanation of the main editing techniques (I like to know why I'm doing what I'm doing), each chapter followed by an extensive and detailed hands-on part of how to implement them in practice in Logic, Pro Tools, Studio One and Cubase (just bookmark the one you're using so you can skip quickly to the relevant section). As is often the case, trying to get the same information from Studio One's manual was frustrating (though I'm sure it's in there somewhere) and so was the good old trial and error approach, so I found this book much more efficient in putting the pieces together for you so you can start using those powerful tools and making the most of them very quickly.Each chapter starts with a (sometimes lengthy) explanation of how things were done in the good old days of analogue tape. You may find this of little practical use but I actually enjoyed it for its historical interest and you can always skip it. Then there's the nitty-gritty of how things are done digitally. I wouldn't recommend skipping this and going straight to the hands-on part though: some of this stuff can be conceptually complicated (especially if you're an amateur like me) and it's best to have some understanding of the general principles before you start moving your transients around just to see what happens, and I talk from experience here!You may be just mixing your own music or your band's as a hobby, but I would say that, especially in that case, you're probably going to have to do some editing on your raw tracks if you want to get half-decent results, and this may be as important as getting your compressor settings right if not more. Add this book to your recording and mixing library and you're good to go. Very highly recommended.