This is the power you get out of a real digital audio workstation. All of that requires complicated controls for signal bus mapping, and you will want a toolset that is designed to make it as easy and intuitive as possible to organize your sounds to make them easy to manipulate. Within those big groups, you'll want a subgroup bus, say one for each character for dialogue, or ambient atmospheric effects and incidental sync effects for effects. You will want a bus for dialogue, a bus for music, and a bus for effects so that if you want to lower all the dialogue for a scene you don't have to go clip by clip or track by track, you can just lower one slider, bring down the dialogue bus, and away you go. In audio, this is referred to as a bussing, which is a signal path that combines multiple signals together. Once you move to focus your attention on the soundscape, you still do that, but you also want to start grouping those tracks together in a variety of like-minded tracks to make it easier and faster to make big global changes. When editing picture, you end up adjusting audio cues either clip by clip or track by track. It's about getting the power to control your audio in a fashion that lets you be more creative, faster.įor instance, once you're done with the edit and turn your attention to the soundtrack, your needs change. What DAWs provide you is beyond the support of sample rates and bit-depth. While it's possible to do some audio adjustments in popular non-linear editing (NLE) programs like Final Cut Pro X, Avid, and Premiere Pro, a dedicated digital audio workstation (DAW) can do a lot for a project's sound design.
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