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Audio Production Basics with Cubase 10.5 [Mīkstie vāki]

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  • Formāts: Paperback / softback, 336 pages, height x width: 254x178 mm, 240 Illustrations, 200 Photos, 20 Tables
  • Izdošanas datums: 15-Jun-2020
  • Izdevniecība: Rowman & Littlefield Publishers
  • ISBN-10: 1538137259
  • ISBN-13: 9781538137253
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  • Mīkstie vāki
  • Cena: 48,21 €
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Audio Production Basics with Cubase 10.5Palielināt
  • Formāts: Paperback / softback, 336 pages, height x width: 254x178 mm, 240 Illustrations, 200 Photos, 20 Tables
  • Izdošanas datums: 15-Jun-2020
  • Izdevniecība: Rowman & Littlefield Publishers
  • ISBN-10: 1538137259
  • ISBN-13: 9781538137253
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781538137253.html
Keywords:
Learn the basics of recording, editing, and mixing audio using Cubase Elements, Artist, or Pro. Experience the software used worldwide by musicians, producers, engineers, mixers, and audio professionals. Filled with tips and insights, Audio Production Basics with Cubase 10.5 will get you working fast. With this book and the included media files, youll get the practical, hands-on exposure you need. We cover everything from setting up your computer to the fundamentals of audio production, including:





Basic Digital Audio Workstation operations and audio hardware options Principles of sound production and microphone use Essential Cubase concepts and operations MIDI fundamentals for playing and performing with virtual instruments Multi-track recording Plug-in use and signal processing techniques Mixing your project and using automation Outputting your final mixdown





Cubase software is very powerful, yet fun and easy to use. Everything you learn here will apply to all editions of Cubase (Elements, Artist, and Pro), so you can easily upgrade in the future no matter where you are starting today. Take the first step now, with Audio Production Basics with Cubase 10.5.
Acknowledgments xiii
Introduction. Welcome to the World of Audio xv
Getting Started in Audio Production xv
Who Should Read This Book xv
About This Book xvi
Requirements and Prerequisites xvi
Media Files xvi
Course Organization and Sequence xvii
Conventions and Symbols Used in This Book xvii
Keyboard Shortcuts and Modifiers xvii
Icons xviii
Chapter 1 Computer Concepts
1(30)
Selecting a Computer
3(9)
Mac Versus Windows Considerations
3(1)
The Importance of RAM
4(2)
Processing Power
6(1)
Storage Space
7(2)
Storage Options
9(1)
Onboard Sound Options (Audio In and Out)
10(1)
Other Options to Consider
10(2)
Working with Your Computer
12(8)
File Management
12(5)
Launching Applications
17(2)
Saving Files
19(1)
Working with an Application
20(4)
Menus
20(2)
Keyboard Shortcuts and Other Key Commands
22(2)
Review/Discussion Questions
24(2)
Exercise 1 Exploring Audio on the Computer
26(5)
Chapter 2 DAW Concepts
31(30)
Functions of a DAW
32(6)
What Can a DAW Do?
32(1)
Common DAWs
32(6)
Plug-In Formats
38(2)
What Is a Plug-In?
38(1)
Common Plug-In Formats
39(1)
Cubase Systems
40(2)
Cubase Software Options
40(1)
Cubase Hardware Options
41(1)
Downloading and Installing Cubase Elements
42(7)
Accessing the Installer
42(1)
Installation Steps
42(7)
Launching Cubase Elements for the First Time
49(1)
Important Concepts in Cubase Elements
50(3)
Project Files Versus Audio Files
51(1)
Audio Versus MIDI
52(1)
Review/Discussion Questions
53(2)
Exercise 2 Working with a Multi-Track Project
55(6)
Chapter 3 Audio Recording Concepts
61(22)
The Basics of Audio
62(1)
Frequency
62(1)
Amplitude
63(1)
Microphones
63(6)
Traditional Microphones
63(2)
USB Microphones
65(1)
Other Considerations
65(2)
Basic Miking Techniques
67(2)
Multi-Tracking and Signal Flow
69(1)
What Is Multi-Track Recording?
69(1)
Recording Signal Flow
70(1)
Moving Audio from Analog to Digital
70(2)
Analog Versus Digital Audio
70(1)
The Analog-to-Digital Conversion Process
71(1)
The Audio Interface
72(4)
Audio Interface Considerations
72(3)
Working Without an Audio Interface
75(1)
Review/Discussion Questions
76(2)
Exercise 3 Selecting Your Audio Production Gear
78(5)
Chapter 4 MIDI Recording Concepts
83(24)
A Brief History of MIDI
84(2)
Digital Control
84(1)
The Birth of MIDI
85(1)
The MIDI Protocol
86(3)
MIDI Notes
86(1)
Program Changes
87(1)
Controller Messages
88(1)
MIDI Controllers
89(5)
Tone-Generating Keyboards
89(2)
Keyboard Controllers
91(1)
Drumpad Controllers
91(1)
Grid Controllers
92(1)
Alternate Controllers
92(1)
What to Look for in a MIDI Controller
93(1)
Purchasing a Keyboard Controller
93(1)
Setup and Signal Flow
94(3)
Plug-and-Play Setup
95(1)
MIDI Cables and Jacks
95(1)
Using a MIDI Interface
96(1)
Considerations for Using Multiple MIDI Devices
97(1)
MIDI Versus Audio
97(2)
What Is MIDI?
97(1)
Monitoring with Onboard Sound Versus Virtual Instruments
98(1)
Tracking with Virtual Instruments
99(3)
Creating Tracks for Virtual Instruments
99(2)
Summary
101(1)
Review/Discussion Questions
102(2)
Exercise 4 Selecting Your MIDI Production Gear
104(3)
Chapter 5 Cubase Concepts, Part 1
107(38)
Creating a Project
108(1)
Main Windows
109(13)
Project Window Overview
110(6)
MixConsole Overview
116(3)
Transport Panel
119(3)
Working with Tracks
122(3)
Adding Tracks
122(1)
Primary Track Types
123(1)
Mono Versus Stereo Tracks
124(1)
MIDI Versus Instrument Tracks
124(1)
Events Versus Files
125(1)
Basic Navigation
125(6)
Using the Transport Controls
125(1)
Zooming and Scrolling in the Project Window
126(2)
Controlling Playback Behavior
128(2)
Monitoring Your Timeline Location
130(1)
Ranges and Selections
131(4)
Locator Ranges Versus Range Selections
132(1)
Playing a Range Selection
133(1)
Range Scenarios
133(2)
Review/Discussion Questions
135(2)
Exercise 5 Configuring and Working on a Project
137(8)
Chapter 6 Cubase Concepts, Part 2
145(40)
Setting Up for Recording
146(1)
Recording Audio
147(5)
Specifying a Record Range
147(1)
Record-Enabling Audio Tracks
147(1)
Monitoring Record-Enabled Audio Tracks
148(1)
Initiating a Record Take
149(2)
Undoing a Record Take
151(1)
Recording MIDI
152(5)
Monitoring a MIDI Controller
152(3)
Record-Enabling MIDI and Instrument Tracks
155(1)
Selecting a MIDI Record Mode
156(1)
Importing Media
157(2)
Supported File Types
157(1)
Importing Files from the Desktop
158(1)
Using the Import Command
159(1)
Snap Types and the Grid
159(3)
The Snap Types
159(2)
Snap Off
161(1)
Setting the Grid Type
161(1)
Working with Parts and Events
162(11)
Recognizing Parts and Events in the Project Window
163(1)
Selecting the Right Tool
164(1)
Basic Editing Techniques
165(2)
Advanced Editing Techniques
167(6)
Review/Discussion Questions
173(2)
Exercise 6 Importing and Editing MIDI Parts and Audio Events
175(10)
Chapter 7 Mixing Concepts
185(20)
Basic Mixing
186(7)
Setting Levels
186(4)
Panning
190(3)
Processing Options and Techniques
193(1)
Gain-Based Processing
193(1)
Time-Based Processing and Effects
193(1)
Inserts Versus Sends
193(1)
Mixing in the Box
194(2)
Advantages of In-the-Box Mixing
194(1)
Getting the Most Out of an In-the-Box Mix
195(1)
Review/Discussion Questions
196(2)
Exercise 7 Creating a Basic Mix
198(7)
Chapter 8 Signal Processing
205(32)
Plug-In Basics
206(4)
Viewing Inserts on Channels
206(2)
Inserting Plug-Ins on Tracks
208(1)
Moving and Duplicating Plug-Ins
209(1)
Displaying Plug-In Windows
210(1)
Common Plug-In Controls
210(2)
Adjusting Plug-In Parameters
212(2)
Adjusting Parameters with the Mouse
213(1)
Adjusting Parameters with a Scroll Wheel or Track Pad
213(1)
Adjusting Plug-In Parameters with the Computer Keyboard
213(1)
EQ Processing
214(3)
Types of EQ
214(1)
Basic EQ Parameters
215(1)
EQ Plug-Ins in Cubase Elements
215(1)
Strategies for Using EQ
216(1)
Dynamics Processing
217(3)
Types of Dynamics Processors
217(2)
Basic Dynamics Parameters
219(1)
Dynamics Plug-Ins in Cubase Elements
219(1)
Strategies for Using Compression
219(1)
Reverb and Delay Effects
220(4)
What Is Reverb?
220(1)
Reverb in Cubase Elements
221(1)
Applications for Reverb Processors
221(1)
What Is Delay?
222(1)
Delay in Cubase Elements
222(1)
Applications for Delay Processors
223(1)
Wet Versus Dry Signals
224(5)
Using Time-Based Effects as Inserts on Effect Tracks
224(1)
Using Send-and-Return Configurations
224(3)
Review/Discussion Questions
227(2)
Exercise 8 Optimizing Tracks with Signal Processing
229(8)
Chapter 9 Finishing a Project
237(26)
Recalling a Saved Mix
238(1)
Using Automation
238(10)
Selecting an Automation State
239(2)
Writing Real-Time Automation
241(1)
Creating Automation Manually
241(3)
Editing Automation Events
244(2)
Using the Line Tool for Automation
246(2)
Creating an Audio Mixdown
248(7)
Adding Processing on the Output Fader
248(4)
Considerations for Bouncing Audio
252(1)
Exporting an Audio Mix
252(3)
Review/Discussion Questions
255(2)
Exercise 9 Preparing the Final Mix
257(6)
Chapter 10 Beyond the Basics
263(44)
Customizing Key Commands in Cubase
264(4)
The Info Line
268(2)
Submixing with Group Tracks
270(4)
Simplifying a Mix
270(3)
Creating Stems
273(1)
Project Window Zones
274(3)
Left Zone
274(1)
Lower Zone
275(1)
Right Zone
276(1)
Using the Chord Pads
277(3)
Selecting and Modifying Chords
278(2)
Adding Chords to Tracks
280(1)
Using the Chord Assistant
280(3)
Accessing the Chord Assistant
281(1)
Circle of Fifths
281(1)
Auditioning Chords and Adding Chords to a Project
282(1)
Keyboard Shortcuts
283(2)
Common Functions and Operations
283(1)
Commonly Used Tools
283(1)
Common Zoom Commands
284(1)
Common Fade Functions
284(1)
Common Edit Functions
284(1)
Track Commands
285(1)
Review/Discussion Questions
285(3)
Exercise 10 Finalizing a Project
288(7)
Exercise 11 Exploring in Cubase
295(12)
Index 307(8)
About the Authors 315
Frank D. Cook is a musician and long-time digital audio user. He has worked in publishing and education for more than 20 years. Frank is the author of the acclaimed Pro Tools 101 course book, along with numerous other book titles in digital audio. He has taught college courses in commercial music, has authored four Pro Tools video training courses for LinkedIn Learning, and is an Avid Master Instructor.

Harley Glynn is an ardent user of Steinbergs Cubase, with diverse experience in the audio industry. Harley has used Cubase for over 10 years, producing hundreds of music tracks. His experience includes post-production mixing, SFX design, and production sound for short films. Harley currently works as an adjunct professor in the Los Rios Community College District. He has been a college-level instructor in the field of audio production since 2012.