I.Digitial Audio
	A.Looping and Comping
		-Assign a region and loop playing over and over
		-Set recording mode to loop
		-You might like different parts of each take
		-Have a plaits that you can use to view each take
		-you can piece together parts of the different takes, called comping
		-You can also expand the playlist downward to look at all the takes.
		-You can flatten it down to one track when you're done.
	B.Crossfade and Zero Crossing
		-If you're comping, you have to crossfade stuff together to prevent pops
		-zero crossings: piece together takes at places where the amplitude is 		zero
		-if there's no zero crossings, you can use crossfades to overlap them 		together gradually fade together for smooth transition.
	C.Transient detection and editing
		-Look for sudden changes in amplitude which notate the rhythm
	D.Frequency domain processing
		-Today we can change speed of audio without changing pitch
		-Decrease speed or increase pitch, you'll have to create new audio by 		interpolating values
		-increase speed, remove some of it.
	E.Hardware Abstraction
		-drivers, layer in between hardware and software (os driver)
		-it exists.  thats about all.
	F.Latency
		-increase buffer size if its lagging.
		-latency=lag
		-increase buffer size to reduce latency

II.MIDI
	A.General MIDI
		-128 predefined patches you're limited to.
		-channel 10 is for drums
		-Good because MIDI might have different patches depending on what 
		synth you use.
		-Lets you write a MIDI file and everyone else who gets it be able to hear 		the same thing.
		-Specific note numbers for different drum parts
		-general MIDI good for commercial music, because it constantly sounds
		the same no matter what its played on  
	B.MIDI data
		-made up of binary code
		-16 channels available, for channel messages and musical 				elements
		-possible stuff: note on, note off, polyphonic aftertouch, real time 			controller, patch change, channel aftertouch, pitch bend.
		-polyphonic aftertouch: play chord, press notes down,put more pressure 		down afterwards it will do something else
		-channel aftertouch: pressure value but no number.
		-realtime controller:adds cool effects
		-controller numbers: 7 controls volume
		-10 conrols pan, 1 controls modulation.
		-only 128 patches per bank, you can have multiple banks though.
	C.TImebase
		-a grid that places events such as note on/off.
		-time base shows how many tics have gone by.
		-playing generates messages on the time base which are stored
		-960 tics per quarter note, used for all sequencers.
		-960 enough to get all possible arrays of groove.
		-listed as bar:beats:subdivision
		-you can subdivide to a certain subdivision, or retain some inaccuracy
		for groove
		-status byte: 1 001 0000
		-first byte is always one.  next three bytes for message type. 
		-next four bytes are channel number 0-15
		 -additional data bytes are note played and velocity of note.
		-types of tracks: audio, midi, instrument
		-MIDI tracks take data from external source and sends it to a synth.
		-MIDI is good because you can edit volume and type of sound after 		you've recorded
III. Automation
	-Automation: adjusting levels of parameters over time.
	-Envelope Based Automation: using nodes, etc to define specific values for 	effects
	-you set values of nodes and the software will interpolate everything else in 	between
	-usually, record initial automation then edit manually later.
	-old automation was all done using movement of faders.
	-envelope based more common today.
	-thinning automation: using software so unnecessary nodes are eliminated.
	-automation modes: write, read, touch, latch, trim, off.
	-write:creates automation data
	-read:process automation data
	-touch:updates when active, but otherwise reverts to old settings
	-latch:stays latched to value you left it at
	-trim: slight adjustments to previous automation
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