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