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There’s a funny thing about the work I do. When there’s good cinematography, lighting, editing, or special effects, you can see it on the screen. Good audio postproduction, on the other hand, is mostly invisible. You can’t tell how we fine-tuned an actor’s dialog. You can’t know which noises came from on-screen action, and which were added later. Good music editing sounds like the song was played that way in the first place. Equalization, dynamics control, noise reduction, and all the other processes discussed in this book are usually used as subtle corrections, not special effects. When we do our jobs right, you don’t know we’ve been there at ...

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