CHAPTER 6 AUDIO EDITING SOFTWAREaudiovisual1998.weebly.com/uploads/1/8/7/9/...from file converters...

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PROCESS INVOLVED IN AUDIO PRODUCTION UNIT 2

AUDIO EDITING SOFTWARE CHAPTER 6

CHAPTER 6 AUDIO EDITING SOFTWARE

INTRODUCTION

This chapter provides you with the information on audio editing software. It begins with discussingthe importance of audio software which allows you to edit and design your audio production.You will be presented with the types of audio editing software available. Then, you will be takenon a tour of several audio editing software in Windows. This is an up-close and personalapplication at your disposal. In addition, you will also obtain the knowledge on how, audio isintegrated with multimedia applications and animation. Here you will see the application ofaudio technology, interweaved in your multimedia environment and specifically in your animationproject. The chapter ends with outlining the various software that are being used in the industry.All these topics will serve you well in the forthcoming exercises and tutorials.

OBJECTIVES

By the end of this chapter, you should be able to:

1. provide the types of audio editing software;

2. apply the audio technology in several Windows based software;

3. integrate the application of audio production with animation works and multimediapresentations; and

4. obtain an exposure of the current audio software being applied in the audio industry.

6.1 USING AN AUDIO EDITING SOFTWARE

When choosing the perfect software for your audio editing project, what are thecharacteristics that you should look into to best feed your editing needs?

Today almost all audio editing in professional studio productions is done with computer-based,non-linear editing systems. These software systems are very much like your video editingsoftware packages. In fact the more advanced video editing software packages like AdobePremiere and Vegas from Sonic Foundry are often used as primary audio editing software. Inmany cases, you will want a separate audio editing package, like Sound Forge by SonicFoundry, as shown in Figure 6.1, to process and edit clips of audio and music before insertingthem into the video editing system. These packages give more control and allow easier editingand processing of voiceover and music than the tools in many video editors, especially lesssophisticated packages such as MainActor. You can purchase excellent sound editors forunder RM380.00, including the “light” or limited edition version of Sound Forge. Moreprofessional packages can cost several hundreds to thousands of dollars, with many morefeatures included.

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UNIT 2 PROCESS INVOLVED IN AUDIO PRODUCTION


Figure 6.1: Sound Forge audio editing Screen with Record Control panel

6.1.1 Audio Editors

Once you have got your audio material recorded into your computer, you might want to edit itto improve the sound and get rid of unwanted audio data. You will need an audio editor to dothis. This allows you to trim off unwanted noises at the beginning and end of a performanceand play around with any audio material that requires enhancing, removing, repeating or evenplaying backwards. Some audio editors also allow you to add effects to colour your sounds.

6.1.2 Notation Software

If you come from a more traditional background, you might be interested in software thatallows you to create professional music scores. Sibelius and Finale are the leading scoringpackages if you are really serious about this, although many software sequencers also allowyou to print out basic scores.

6.1.3 Software Studios

Some musicians use all-in-one software studio packages. These combine sequencing, virtualinstruments and effects, all within one piece of software. Some feel that the software studiois an excellent starting point for beginners, as it teaches you all of the basic principles ofstudio work within one self-contained environment. However, none of the currently availablesoft studios are capable of recording audio, which means you cannot record your guitardirectly into one. You would need to record using some other software, even something asbasic as Windows Sound Recorder and save your guitar parts as .wav files, and import theminto the soft studio.

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6.1.4 Other Software

While a sequencer and a few well-chosen plug-ins can keep you happily making music forever,there are other things you may find useful. There are loads of handy applications out there,from file converters to synth librarians, loop editors and MIDI utilities. None are essential, butas you get deeper into the computer music ‘thing’, you will start to get the hang of which onesyou might need and why.

6.2 USING COMPUTER-GENERATED MUSIC

ACID Music 3.0 is a software package from Sonic Foundry Inc. The software allows you tocreate royalty-free music for your video music tracks quickly and easily. You can create musicin a wide variety of styles by using its multi-genre loop library containing more than 600 loops(genres include: Dance, Hip-Hop, Techno, Industrial, Pop, Rock, Jazz, Ambient, Orchestral,and more).

ACID allows you to “paint” your music without having to use complicated MIDI sequencers,drum machines, or musical instruments. You can further enhance each individual track inyour musical production with sophisticated and professional sound effects.

6.2.1 Acid Express

ACID, as shown in Figure 6.2, is a self-contained software tool that allows you to developmusic using a simple “pick, paint, and play” style interface. You can add MP3 files and fromother sources to your project (just pay attention to copyrights’). In addition to create withACID, you can record music, instruments, or vocals directly into ACID. You can previewloops in real time before adding them to your mix, as well as import videos and create musicbeds. It also allows you to customize your sound with studio effects such as EQ, Reverb,Delay, Chorus, Phaser, and more. You can change the pitch or tempo of an entire project inreal time, and mix severe tracks into a new one (track bouncing). Finally, you can encodevideo, insert metadata markers, launch websites, display captions, and embed URL flips intoyour audio and streams.

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Figure 6.2: ACID main screen

ACID has tools that allow you to coordinate the music tracks. It creates with a rough cut yourvideo project. Just finish the video editing and export an MPEG file of your video with the roughaudio track, including the voiceover. Using the Video Tracker, shown in Figure 6.2 you canthen synchronise the ACID music track production with your cut. When you are finished, youcan export the ACID track to a WAV. file and insert it into your video editor’s timeline. You willhave a royalty-free custom and unique music track just as if you hired a professional composer.

6.2.2 Bit Depth

Bit depth is the number of bits contained in each sample of sound data.

The more bits, the better the sound produced. You have a choice of 8 bits or 16 bits. 8-bitsound has a brittle noisy quality. You should always use 16-bit sound.

6.2.3 Saving Sound Files

Files must be saved after you have finished creating the sound element. If you imported thefile, you can save your designed sound with another name to avoid destroying the origi-nal.When you use Save As to create a new file, be sure the format of the file is con-figuredcorrectly. If the original file was compressed, for example, save the new file as PCM. Also,make sure to save files in a format that can be imported into Movie Maker. In most cases, thefiles should be saved as WAV files.

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If you are creating a mixed file using a multi-track editing program, make sure the file is in theformat you want. If the multi-track editor does not provide a way to change the format of themix-down file, you can save the mixed file, and then change the settings and clean the soundin another sound editing program.

6.2.4 Sound Editing Using Windows Movie Maker

When you edit with Windows Movie Maker, you can add sound effects and music to makeyour animation /movie more complete and help tell your story. During production, a di-rectoris concerned with the look of the movie or animation, the performances of people, and get-ting clean sound. It isn’t until post-production that the majority of sound work is typically done,because then producers, directors, and editors have more control of their time and resources.On the set, a director is often fighting the clock and deal-ing with problems like surly actorsand bad weather. Production is also more expen-sive because there are more people, rentalequipment, and location costs involved. If you are shooting a one-time event, like a weddingor birthday party, there is often no time to be concerned with the sound.

In the original setup, the music and sound effects were added as the scenes were being shot.Many elements had to work together flawlessly, so it took many hot, frustrating, expensivehours to get a good take. By waiting until post-production to do sound work, you take a hugeload off production, and because you don’t have the expense of production, you have the timeto concentrate on getting the sound right. In animation sound can be design separately andonly put together during post-production.

The main reason for doing sound in post-production, though, is so the sound can cross thecuts. Suppose a 20-second scene has four shots in it. If you want music or a backgroundsound to run continuously through the scene, it has to play across the cuts or over more thanone shot. The only way to do that is to wait until the scene has been edited, and then add themusic or sound.

This concept is represented visually by the timeline in Movie Maker. The video clips runacross the top part of the timeline, and running parallel to it just below the clips is the soundtrack. If you drop a sound effect just below the in point of a clip, the sound will play on that cut.If the sound is long enough, it can play across as many cuts as you want. If you record anarration track, you create one sound that crosses every cut in the movie.

With just a production track (the sound connected with the video clips), you can not domuch to add to the sound in post-production because the picture is locked to the sound.

Whenever you make a picture edit, the sound is edited, too. However, if you have just onesound track to work with in addition to the sound from the clips, a whole world of possibilitiesopens up. With this sound track, you can do sound design.

Smart movie producers know the value of sound. They know that their million-dol-lar visualeffect will come to life only after the sound designer has added the right sound, which usuallycosts a great deal less. It is surprising to everyone, except sound designers, how oftensound saves the day. An expensive scene that just doesn’t seem to come together withediting can sometimes be fixed instantly with the right music or background sound. A goodsound design always makes the pictures look better.

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The sound designer is concerned with the three types of sound in a movie:

(a) DialogPeople speaking as the primary sound in a scene. Dialog can be on-screen sound,in which we see the person talking, or off-screen sound, in which the person talking is inthe scene but is not visible, such as a voice on the telephone, or outside the scene, suchas a narrator. Background voices, such as people in a crowd, are usually consideredsound effects. If a dialog or sound editor cannot fix poorly recorded dialog sound, he canreplace the sound in a studio. This process used to be called looping; now it’s calledAutomated Dialog Replacement (ADR). The actor comes to an ADR stage and recreatesthe voice track by watching playback of the picture.

(b) Sound EffectsAny sound that is not dialog or music. Sounds effects can be created and added to ascene, or taken from the production track or wild track. A good location sound person willrecord wild sound if the ambient sound is very loud or unusual. Wild means the sound isnot synchronized to the picture. For example, if you are shooting by the ocean, you canrecord some wild ocean sound with no dialog and the sound designer can use it tosmooth out the cuts. There are two types of sound effects: sync effects andbackgrounds. A sync effect is a sound that must synchronize with something in thepicture, such as a door closing or punch during a fistfight. Sync effects are usually short.A background does not synchronize with the picture, but adds to the ambient sound.Often, backgrounds can be created in a loop to play continuously, such as a residentialfill loop or forest bird loop.

(c) MusicThere are two types of music; source and underscore.

Source is music that originates in the scene, such as from a radio, elevator music,or a live band.

During production, avoid shooting with music in the background; you might not noticethat someone has a radio on while you’re shooting dialog, but you will when you edit andthe music jumps on every cut. If you want source music in a scene, record it wild andadd it after you edit so the sound crosses the cuts. Underscore is music that originatesoutside the scene, and that underscores the emotion of the movie.

Underscore is the orchestra we hear underwater that tells us we should be frightenedbecause the shark is approaching, or the music we hear on the battlefield that tellsus we should feel proud, but saddened, as our heroes charge toward the front line.

Almost all commercial movies have original scores that are recorded in a studio insynchronization with playback of the movie.

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6.3 DESIGNING SOUND WITH WINDOWS MOVIE MAKER

You can approach sound design with Movie Maker the same way you approach it with anyediting tool. However, because Movie Maker is a simplified editing pro-gram, it does not providesome of the advanced sound design features you will find in professional sound design tools.Some things you can do very easily. However, if you want to do tasks that are morecomplicated, you can use a third-party program that specialises in sound production.

Before we start, let’s see what we have to work with in Movie Maker:

6.3.1 Import Sounds

You can add sound clips to your collection and then add them to your timeline. Movie Makerenables you to import many different types of audio files including WAV, AIFF, and WindowsMedia Format (using .wma or .asf file name extensions).

The sounds can be compressed or uncompressed, and can have a mix of sample ratesand bit rates. With this variety of choices, sound work is much easier. Many professionalsound editing programs don not allow this variety. For example, some only importuncompressed, CD-quality files.

6.3.2 Synchronise Sounds with the Movie

You can place sound clips in sync with the edited movie and production track by dragging theclip left or right on the timeline.

For example, suppose you have a clip of a hunter shooting a rifle, but the gunshot sound isunconvincing. You can import a beefier gunshot sound and synchronize it with the rifle on theproduction track. When both sounds are played together, they will sound like one big gunshot.

6.3.3 Mix the Sounds

You can adjust the mix of the production and sound tracks. It is very unlikely that two soundscreated separately will have the same sound level. The mixer has a slider that enables you tocontrol the overall balance of the two tracks.

6.3.4 Compressing Sound

Sound files can be squeezed further with compression.

Compression works by measuring only the small differences between successivesound samples, instead of measuring the whole height of every sample.

With compression, 16-bit sound files can be made four times smaller, and the quality barelysuffers. When the sound files are played back, the processor decompresses them toalmost their original quality.

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6.3.5 Making Sound Files Smaller

While most multimedia machines can play stereo CD-quality sound, many titles use lowersound quality. This is for two reasons:

• First, because poorer sound takes up less room on the CD-ROM.• Second, because playing high-quality sound slows the computer down. Sound files

can be made smaller by a factor of 16 or more, but unfortunately the quality drops too.

6.4 VIDEO SOUND RECORDERS

Professional tape recorders for use in the video industry need to be portable, si that they canbe taken to location and preferably operated off a battery. Thq also need to be able to keep insync with a film camera. They do this b] recording the pulse of the camera’s motor. For thisthey need a fourth head fa the tape to pass over and this actually records the pulse of thecamera’s motoi onto the recording tape. This fourth head is called the pilot head or neo pilolhead, the pulse of the camera’s motor can be fed into this head, either via) sync lead, orconnecting lead from the camera to the tape recorder, or is more common these days, thecamera and the tape recorder can be equipped with similar crystal generators. The crystalgenerator in the camera in the camera drives the camera motor and the output of the crystalgenerator in the tape recorder is recorded onto the tape via the pilot head.

6.5 MONITORING

Video sound recorders need a headphone output, so that they can be intimately monitoredthrough headphone’s while on location. A monitor switch will select the input or the outputsignal.

This facility allows the operator to listen to the inputs from microphones or other inputs cominginto the recorder and mix them accordingly, and while in the record mode to switch from inputto output as a check that the quality is the same coming off the playback head, as that whichgoes into the recorder.

It’s customary practice while recording on location to monitor the signal off the playback head,that is off the tape or output position. This gives the operator the ability to listen to the actualsound that has been recorded on tape.

6.6 INPUTS

A video sound recorder will have one or more microphone inputs, and their cor-respondinglevel controls. If condenser microphones are to be used, these inputs, or the microphone preamplifiers they plug into, can be equipped to pro-vide a power supply to drive the microphone.The recorder will also be equipped with a line level input, and/or an accessory or mixer input.These are for recording the outputs of other tape recorders, mixers or other audio facilities.

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6.6.1 The Recording Studio

Step into a recording studio sound booth and the first thing you notice is the total silence - thebackground hum of everyday life is gone. The booth is not only completely soundproof, it isalso “dead” - the walls and ceiling are built to absorb sound instead of reflecting u, so noechoes distort the recording. Even the furniture in the booth is kept to a minimum, becauseevery surface affects the character of the recorded sound. This careful attention to the finerpoints of sound quality runs through the whole process of recording for multimedia.

6.6.2 The Voice Artist

Until recently, many multimedia titles used the vocal talents of the development team for theirnarration and dialogue, with predictably poor results. Sensibly, most multimedia makers todayuse:

professional voice recording artists, and even well-known actors such as Christopher Leeand Dennis Hopper are being enticed onto CD-ROM. Voice artists come in two varieties -narrators and character actors. Narrators are skilled at making documentary. informationpunchy and clear, while character actors can breathe life into an animated character or dub afilmed performance.

6.6.3 Professional Voices

A good narrator must have a “clean” voice, with little or no trace of an accent. A clean voice isfree from sibilance (hissing s sounds), loud breaths between words, and mouth noise (thetiny sounds of tongue touching palate). For a character actor, how-ever, irregularities such asthese can lend an interesting individuality to the voice.

Good timing is critical, too. A narrator should be able to time the delivery of a paragraph towithin half a second, while making subtle changes to the emphasis and tone of the script.Character actors need even better voice control to synchronize their performance to lipmovements on video or animation.

6.6.4 The Sound Engineer

The bulk of the sound engineer’s work happens after the recording session, when the soundfiles are edited and laid down as a sound track. At the recording stage, however, the engineerstill has a vital [ask to perform: to capture the sound at the best possible quality. The engineerlistens carefully for background hiss and distortion, and uses a range of tools to eliminatethem. The analog electrical signal from the microphone is fed first into a mixing desk, thenthrough a series of electronic filters that clean up the sound. Finally, the analog sound signal isconverted to digital data.

6.6.5 Sound Craft

After the recording session, the engineer listens to the sound files and decides which takeswill go into the final sound track. Then the painstaking work of further cleaning up and enhancingthe sound files begins. The engineer identifies individual problems and corrects each oneusing sound-editing software. The digital sound waves are shown directly on the screen, so

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flaws can be seen as well as heard -background hiss, mouth noise, and breaths betweenwords all have distinctive shapes. The software’s editing tools make manipulating the soundand correcting mistakes straightforward.

6.6.6 Cleaning Up Sound Waves

Every sound file is edited to remove mistakes and improve sound quality. Here the engineer isusing Digidesign’s Sound Design editing software to work on part of a recording - the words“cobweb” and “special laws” - that highlights many of the problems involved.

6.7 INTEGRATING AUDIO INTO MULTIMEDIA

The entertainment industry has long appreciated that sound can enhance visual experiences.Even before the invention of a sound track on celluloid turned silent films into the talkies, thescreening of movies was often accompanied by a piano or an orchestra. In today’s multimediatitles, music and sound effects are used, as in the movies, to enhance the drama and realismof what the user sees. Now, multimedia sound professionals are having to rise to a newchallenge, one that is unique to the industry.

6.7.1 Listening Pleasure

Until recently, multimedia developers were all too concerned with how their titles looked andnot enough with how they sounded. In the rush to exploit the new possibilities of 3-D graphics,animation, and video, developers failed to realize the full potential of the audio track. Poorsound quality, music that stopped abruptly at the press of a mouse button, or even screensthat were totally silent all betrayed a lack of attention to the user’s listening pleasure. But thisis changing. As TV, film, and record companies move in on the multimedia act, they arebringing higher sound production values with them.

6.7.2 Interactive Sound

In the best multimedia, music, dialog, and sound effects are used not only to accompany thevisual experience, but also to enhance interactivity. In many information titles, mouse clicksare confirmed audibly and the transitions between screens are accompanied by music. Aswell as adding to the experience, this fills the gap while the CD-ROM drive reads a new chunkof data.

Entertainment titles use sound in a different way. In 3-D games, for example, the flyby of anenemy jet or the footsteps of an alien creeping up behind you are recreated with stereo soundeffects to reinforce the sensation of moving in three dimensions.

For the multimedia sound team, the challenge is always to make the sound track the mostexciting part of the experience.

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6.8 EXAMPLES OF AUDIO SOFTWARE

Sony Pictures Digital surprised everyone with its announcement of its acquisition of SonicFoundry’s desktop video and audio editing applications. In a move chat is sure to ruffle thefeathers of competitors like Pinnacle, Ulead and Adobe. Sony has acted to enhance its positionin the desktop video capture, editing and output market.

The high regard for Sonic Foundry’s Vegas Video 4 makes it an ideal application to includewith Sony’s Vaio range of desktop and laptop editing computers which, to date, have beenbundled with Movie Shaker and the less-than-satisfying Adobe Premiere LE.

Vegas is widely regarded as being one of the best mid-range video editing packages available.and has certainly found favour with many users who aren’t content with the likes of PinnacleStudio or Ulead Video Studio, but who find Adobe Premiere and Media Studio Pro a bit toocomplex for their needs. In this respect, Vegas Video has proved ideal for users looking forease of use, a high degree of functionality and a professional style screen interface.

6.8.1 Sonic Foundry ACID PRO 4.0

Sonic Foundry has announced the release of ACID PRO 4.0, professional loop-based musiccreation tool that allows users to create original, royalty-free music. The newest release includesprofessional features designed to help music and multi-media professionals produce high-quality musical arrangements, using pre-recorded sound clips called loops for use inproduction, commercial recording, streaming media creation and corporate audio-videopresentations.

Intuitive and powerful, the software can incorporate an unlimited number of loops of almostany genre, and has been used in a variety of music recordings, television specials and films.

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Figure 6.3: ACID PRO 4.0

ACID PRO can be used to:

1. Create songs.2. Remix tracks.3. Develop music beds.4. Produce 5.1 surround audio mixes.5. Score videos.6. Develop music for Web sites and Flash animations.

These loops are very easily created by simply adding a new track on to a timeline and ‘drawing’the length of the loop required. The timeline is a representation of time and instruments. Eachinstrument has a track and can be of infinite length. You can have a single loop of an instrumentplay for a period on a track, stop and start again further down the timeline.

Test your understanding by attempting the exercise below.

Exercise 6.1

Explain the advantages of Acid 3.0 in your audio post-production process.

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6.8.2 Syntrillium COOL EDIT PRO 2

Five years after its launch, one of the music software industry’s best kept secrets has finallymade it to Version 2.

COOL EDIT is not that much of a secret. We know lots of readers use it. But when you think‘audio editor’, it may not be the first program to spring to mind. COOL EDIT PRO is not just asouped-up version of COOL EDIT. It is a souped-up COOL EDIT with a fully-fledged multitrackdigital audio recorder. It’s now reached Version 2, which comes with new features andcapabilities.

There are two main screens:

1. Multitrack View is the multi-track recorder. It supports up to 128 audio tracks (althoughyou’ll need some heavy hardware to run this many) plus real-time effects (calledTransforms in version 1).

2. Edit View is very much like the standard COOL EDIT.

6.8.3 Cubasis VST

Cubasis VST is the entry-level version of the renowned Cubase, and as such does not havea lot of the bells and whistles that the full version has. That said, Cubasis VST is far fromcrippled. You can play back up to 64 MIDI tracks and up to 48 separate channels of audio areavailable, though how many you can use will be dependant on the power of your system.

Recording audio isn’t as straightforward but Cubasis does have a more professional feel andoffers more in the way of mastering processes. WaveLab Lite is also great for editing audio.

Cubasis operates in real time. This means that:

• You do not need to stop the music to perform any type of editing and switching betweenwindows or anything else.

• You can even save to disk while playing.• You can export your finished audio in a single file to your hard disk in .aiff, .wav, RealAudio

or MP3 format.

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6.8.4 WaveLab Essential

Is Steinberg’s mid-range audio editor a fully-featured program or simply a cut-down version ofWaveLab 4.

Ever since it was released umpteen years ago, although it began life as simply an audioeditor, it has developed considerably and now offers:

• A wide range of real-time and offline effects• Comprehensive audio CD burning• A powerful clip editing system called Audio Montage

In fact, the latest version, WaveLab 4, scored a winning 9 in issue 46. The main problem isthat it is probably a little expensive for many people.

WaveLab Essential is based on WaveLab 4 but comes at less than half the price. Obviously,you’d expect some features to be missing or restricted and you’d be right, but many of theomissions will only be missed by people needing particular facilities.

Rather than simply list the differences and risk you nodding off into your soup, let’s take a touraround the program’s main functions including:

• Timestretching• Pitchshifting• Pitchbend• Chorus• Compression• Limiting• Normalisation• Invert phase• Remove DC offset

Figure 6.4: Cubasis VST 3

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There is also a neat function for detecting and changing the pitch of a piece of audio: great foranyone who uses samples and loops. There are also fade-in and out and crossfade functionswith adjustments for the slope, and linear and logarithmic curves.

6.8.5 Home Studio 2002

Home Studio 2002 is the second product from Cakewalk in this round-up (see Guitar TracksPro, p62). As its name suggests, this is a more complete music making solution than GuitarTracks Pro. Home Studio has unlimited audio channels and is MIDI capable. Not only that, butyou can edit and print notation with chord symbols and lyrics, and import digital video files todub soundtracks onto.

The manual takes into consideration the fact that the user might be new to recording audiowith a PC, and there is even a section explaining how to connect an electric guitar to acomputer. It also explains how to configure the software to the sample rate that you requireand walks you through each step without getting too technical. Once this is done, recordingaudio is as simple as:

(a) Inserting an audio track(b) Clicking the ‘R’ button on the track to arm it(c) Pressing Record on the main transport bar

Once you have recorded your audio parts, you can transform them into Groove Clips, whichadapt to tempo changes. Home Studio is a very powerful application, and although it may lookinitially complex, it is actually very easy to use. It is also remarkably stable, which is always abonus.

Figure 6.5: Home Studio 2002

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6.8.6 Music Maker 2003 Deluxe

Practically, every music-tech related chat room has at least one argument raging about whichsequencer is ‘more professional’ than the rest. A quick read through a few of these threadsleads you to the conclusion that nobody actually knows what it means for a sequencer to be‘professional’ in the first place. Some think it is to do with how complex the software is.Others think it is all down to expense.Music Maker 2003 Deluxe is supplied as a four CD set:

• The first disc holds the program itself.• The other three contain a huge library of audio samples.

As with previous incarnations, the program itself is essentially a tool that allows you to assemblethese audio samples (along with any others you may want to incorporate) into a finishedarrangement. Where MM2003 differs is that its talents are not limited to working purely withaudio, as it also has extensive vide editing and playback capabilities and not to be outdone bythe competition. MM2003 has a comprehensive suite of built-in effects and soft synths, and isfully compatible with VST and DirectX effects, and VST instruments.

You have learned several types of software for audio editing in this chapter. Inyour opinion, which editing software would you prefer to use for your audioediting project? Why? Discuss the advantages and disadvantages for eachaudio editing software with your friends to help you in choosing the best software.

SUMMARY

We hope that the topics presented in this chapter will act as a guide to you in producing yourown audio production. With so many choices and products of audio editing software at yourdisposal, even the sky is not the limit. The next chapter is strictly a hands-on application on thechosen software, Plasma Cakewalk.

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