ADOBE AUDITION 3 USER GUIDE – PDF Free Download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Copyright Kinoma Inc. Adobe Audition supports up to bit resolution with 4,, possible levels. See Select spectral ranges on page Amplitude D.
 
 

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Installation Requirements To review complete system requirements and recommendations for your Adobe software, see the Read Me file on the installation disc. Install the software 1 Close any other Adobe applications open on your computer. Note: For more information, see the Read Adobe audition 3 user guide pdf free download file on the installation disc.

App for pc windows 10 the software Ifyouhaveasingle-userretaillicenseforyourAdobesoftware,youwillbeaskedtoactivateyoursoftware;thisisa simple, anonymous process that you must complete within 30 days of starting the software. Note: If you want to install the software on a different computer, you must first deactivate it on office standard 2010 download free download computer.

Register Register your product to receive complimentary installation support, notifications of updates, and other services. To register, follow the on-screen instructions in the Registration dialog box, which appears after you install and activate the software. Read Me The installation disc contains the Read Me file for your software.

This file is also copied to the application folder during product installation. Open the file to read important information about topics such as the following: System requirements.

In-product and LiveDocs Help In-product Help provides access to all documentation and instructional content available at the time the software ships. It is available through the Help menu in your Adobe software. LiveDocs Help includes all the content from in-product Help, plus updates and links to additional instructional content available on the web.

Find LiveDocs Help for your product in the Adobe Help Resource Center, at Think of Help, both in the product and on the web, as a hub for accessing additional content and communities of users. The most complete and up-to-date version of Help is always on the web. Other documents, such as installation guides and white papers, may also be нажмите для продолжения as PDFs. Printed documentation Printed user guides are available for purchase in the Adobe Store at adobe audition 3 user guide pdf free download you can also find books published by Adobe publishing partners.

Extras You have access to a wide variety of resources that help you make the most of your Adobe software. Some of these resources adobe audition 3 user guide pdf free download installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content disc.

Unique extras are also offered online by the Adobe Exchange community. Presets include a collection of effect settings optimized for specific sonic results. If you don t want to create an effect from scratch, start with presets for inspiration. Content on CD and DVD On the installation disc, the Documentation folder contains a PDF version of Help, technical information, and other documents such as reference guides and specialized feature information.

Перейти на страницу disc provides thousands of royalty-free loops, plus ready-made music beds and professional sample adobe audition 3 user guide pdf free download. Adobe Exchange For more free content, visit an online community where users download and share thousands of free actions, extensions, plug-ins, and other content for use with Adobe products.

Adobe Design Center Adobe Design Center offers articles, inspiration, and instruction from industry experts, top designers, adobe audition 3 user guide pdf free download Adobe publishing partners. Adobe audition 3 user guide pdf free download content is added monthly. You can find hundreds of tutorials for design products and learn tips and techniques through videos, HTML tutorials, and sample book chapters.

New ideas are the heart of Think Tank, Dialog Box, and Gallery: ThinkTankarticlesconsiderhowtoday sdesignersengagewithtechnologyandwhattheirexperiencesmeanfor design, design tools, and society. In Dialog Box, experts share new ideas in motion graphics and digital design. The Gallery showcases how artists communicate design in motion.

The Developer Center also contains resources for developers who develop plug-ins for Adobe products. In addition to sample code and tutorials, you’ll find RSS feeds, online seminars, SDKs, scripting guides, and other technical resources. Visit Adobe Developer Center at Customer support Visit the Adobe Support website, at to find troubleshooting adobe audition 3 user guide pdf free download for your product and to learn about free and paid technical support options.

Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more. Downloads Visit to find freeupdates, tryouts, and other useful software. In addition, theadobe Store at provides access to thousands of plug-ins from third-party developers, helping you to automate tasks, customize workflows, create specialized professional effects, and more. Adobe Labs Adobe Labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe.

At Adobe Labs, you have access to resources such as these: Prerelease software and technologies. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community. Visit Adobe Labs at User communities User communities feature forums, blogs, and other avenues for users to share technologies, tools, and information.

Users can ask questions and find out how others are getting the most out of their software. User-to-user forums are available in English, French, German, and Japanese; blogs are posted in a wide range of languages.

Mix faster with new automatic crossfades, clip fade handles, and automation-editing improvements. Take full advantage of the latest hardware with multicore взято отсюда support and an optimized mixing engine.

See Enable VST effects on page Auto crossfades and clip fade handles Simply overlap clips to crossfade them, and adjust fade curves with on-clip adobe audition 3 user guide pdf free download. See Fade or crossfade clips in a track on page Improved multitrack editing Efficiently edit sessions with these key enhancements: Collectively trim and fade grouped clips. See Grouping clips on page Ripple-delete ranges of clips, instantly removing time gaps. See Trimming and extending clips on page Adjust selected ranges of automation points.

See Edit automation envelopes on page Duplicate the contents of entire tracks, including clips, effects, and automation. See Duplicate iexplorer 3 registration key free track on page Simultaneously view all input and output levels to comprehensively monitor a mix.

See Monitor levels on page See Save multitrack sessions on page Mix down directly to Edit View Quickly output a session directly to Edit View, without first exporting a file. See Create a single audio clip from multiple clips on page See Previewing video on page Create and arrange Adobe Audition 3. Improved processing, including the high-quality Radius time-stretching engine from izotope and numerous new effects, gives you infinite creative options.

See Effects reference. Radius time-stretching from izotope Access industry-standard algorithms in the updated Stretch effect, as well as the File Info and Audio Clip Looping dialog boxes. Bitmap audio images Export spectral graphs for detailed editing in an image-editor like Adobe Photoshop.

Or, import visually-oriented graphics as adobe audition 3 user guide pdf free download material for experimental sound designs. See Spectral Bitmap Image. Enhanced file sorting Sort files by track number, or by the date they were opened or created. See Change how files appear in the Files panel on page Customizable workspaces Tint panels and dialog boxes to suit your working style.

Add favorite commands to the shortcut bar. See Change interface brightness or tint on page 29 and Display the shortcut bar on page Edit and master Adobe Audition 3. Comprehensive waveform-editing tools combined with innovative spectral frequency brushes let you edit with power and precision. Spot Healing Brush Quickly brush over artifacts to seamlessly remove them.

 

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Try to keep the loudest peak somewhere between —2 dB and 0 dB when setting recording levels. Each shows you a different visual representation of sound waves. If you open a stereo file, the left channel appears at the top and the right channel appears at the bottom. If you open a mono file, its single channel fills the total height of the Main panel. For example, if you see a lot of inverse phase information in the Phase Analysis panel, you can use Spectral Phase Display to find out exactly where in time the out-of-phase audio is occurring.

To delete a color point, right-click it and choose Delete Color Point. Page 76 At the top of the Main panel, time displays show how much audio is visible for the top and tail. By default, Adobe Audition displays 10 seconds in both views.

Page 78 By default, Adobe Audition plays all audio in the same time range as a spectral selection. To hear only the selection, right-click the standard or circled Play button, and select Play Spectral Selection.

Specify which channel you want to edit By default, Adobe Audition applies selections and edits to both channels of a stereo waveform. However, you can easily select and edit just the left or right channel of a stereo waveform. Page 80 Though you can often identify beats by looking for peaks in a waveform, the Find Beats command makes the task much quicker. After you find beats with this command, Adobe Audition saves them as Beat Markers, making it easy to locate beats again.

Page Copying, Cutting, Pasting, And Deleting Audio Copying, cutting, pasting, and deleting audio Choose a clipboard Adobe Audition gives you access to five internal clipboards for temporary data storage.

Each works similarly to the Windows clipboard, except that they can handle more data at a faster rate. Page 82 The Mix Paste command lets you mix audio data from the clipboard or a file with the current waveform.

Page Visually Fading And Changing Amplitude Delete or trim audio data Adobe Audition provides two methods for deleting audio: The Delete Selection command lets you remove a range from a waveform, whereas the Trim command lets you remove unwanted audio from both sides of the selected audio.

If this fade sounds too abrupt, however, try one of the other options. A point refers to a specific time position within a waveform for instance, A range has both a start time and an end time for example, all of the waveform from Page 86 Marker types Adobe Audition provides five marker types.

All five can be ranges as well as points. You can change marker types by clicking Edit Marker Info in the Markers panel and choosing a marker type from the Type menu. Alternatively, right-click the marker handle, and choose a marker type from the context menu.

In the For More Than text box, enter the duration in milliseconds of this maximum amplitude value. Page 90 Enter a longer duration to ignore short periods of undesired audio like clicks, static, or other noise. However, if the value is too high above milliseconds , short words may be skipped. Scans the waveform or a selected range to have Adobe Audition automatically determine a good Find Levels starting point for signal levels.

Higher values can lead to an artificial sounding pause. Previews the silence to be removed. This option reports how much silence will be removed Scan For Silence Now and how many sections of silence were found. Page Generating Audio Specifies the length that is assigned to the pause character when it is used in the Dial String text box. Pause Time Specifies which character Adobe Audition interprets as a pause.

Page 94 Each color has its own characteristics. Generating noise is useful for creating soothing sounds like waterfalls perfect for use with the Binaural Auto-Panner function of Adobe Audition and for generating signals that can be used to check out the frequency response of a speaker, microphone, or other audio system component. For example, you can apply DC Offset to correct an incoming signal that has suffered electrical pollution from a strong adjacent current.

If you select a range, Adobe Audition analyzes the center point of the range. Page 99 In the Main panel, click a point, select a range, or start playback. If you select a range, Adobe Audition analyzes only the center point. To analyze the overall frequency of a selected range, click Scan Selection in the Frequency Analysis panel.

Page You can generate a step-by-step animation by clicking the Main panel and then holding down the Right Arrow key. As the cursor scrolls across the across the waveform, Adobe Audition displays the corresponding spectral infor- mation in the Frequency Analysis panel. In Edit View, select an audio range.

Page Specifies the number of milliseconds in each RMS window. To achieve the most accurate RMS values, use wide windows for audio with a wide dynamic range, and narrow windows for audio with a narrow dynamic range. Page Converting Sample Types Enter a sample rate in the text box, or choose a common sample rate from the list. Note: Although you can work with any sample rate in Adobe Audition, your sound card may not be capable of playing all rates properly.

To determine supported sample rates, consult the documentation for the card. Page Select a bit depth from the Resolution list, or enter a custom bit depth in the text box.

When you select a lower bit depth, Adobe Audition provides dithering options to help reduce noise and distortion. Set the following options as desired, and click OK: Although dithering introduces a small amount of white noise, the result is far preferable to the increased distortion that you would otherwise hear at low signal levels.

Usually, Triangular p. These changes are stored in a temporary file on your hard drive. In both racks, you can insert, edit, and reorder up to 16 effects, optimize mix levels, and store favorite presets. Each track has its own Effects Rack, which is saved with the session.

Dock the Effects Rack to quickly view and edit effect settings for multiple tracks. Page To modify an existing preset, apply it, adjust settings as desired, and then save a new preset with the same name. Control effects settings with graphs Many Adobe Audition effects provide graphs where you can adjust parameters. By adding and moving control points on the graph, you can precisely tailor effect settings. When the pointer is over a control point, the pointer changes from an arrow to a hand.

You can change the grouping of effects to best meet your needs. To readapt a session for different projects, for example, simply reopen it and change effects to create new sonic textures. Be aware that enabling large numbers of plug-ins can cause Adobe Audition to start slowly.

Select the plug-ins you want to access in Adobe Audition, and then click OK. Though you can select VST instru- ments here, they are unsupported for audio processing. Applies a logarithmic-style fade also known as a power fade. If you select this option, You can choose Compress, Flat, or Expand for up to six sections or stages, each with its own ratio and threshold setting. For example, to create a compressor above dB, choose Compress, and then specify a ratio and a threshold of dB.

Use the Envelope effect to make tones generated with Adobe Audition sound more realistic. This effect is particularly useful for increasing perceived volume because you can amplify audio beyond the digital maximum, 0 dbFS, and you can lower areas that would otherwise be clipped. Frequency bands B. Crossover markers C. Bypassed band no processing applied D. Amplitude scale E. Possible values range from to 0 dB. The best Threshold sliders setting depends on audio content and musical style.

To compress only extreme peaks and retain more dynamic range, try thresholds around 5 dB below the peak input level; If desired, you can apply that command to only one file. Page Delay And Echo Effects When reverb or chorus might muddy the mix, both delays and echoes are a great way to add ambience to a track. To access familiar options from hardware delays, use the Echo effect in Adobe Audition. Page 35 milliseconds or more create discrete echoes, while those between milliseconds can create a simple chorus or flanging effect.

Original and Delayed Inverts the delayed signal, causing the waves to cancel out periodically, instead of reinforcing the signal.

Page The number of echoes is adjustable up to , Keep in mind that the more echoes you include, the more time Adobe Audition needs to process the effect. Page The distance between the source and the walls affects which frequencies are enhanced and is crucial to the overall ambient effect. If you enter a value that exceeds the dimensions of the room, Adobe Audition uses the greatest possible value based on the dimensions. It is then mixed into Delay Offset an earlier point in the delay line, which causes echoing.

However, you can create interesting effects by entering positive values. Boosting a Low Cut Filter while reducing the feedback setting is identical to reducing a High Cut Filter and increasing the feedback setting. Adjusts the amount of amplitude or attenuation the Dynamic EQ effect uses. A larger number low factor causes the filter settings to change roughly or in chunks from initial to final, while smaller numbers higher factor make the transition much smoother.

Compensates for an overall volume level that is too soft or too loud after the EQ settings are adjusted. Master Gain The default value of 0 dB represents no master gain adjustment. Set the cutoff frequency with High Shelf Cutoff and Level the second slider below the graph, and increase or decrease treble with the slider at the right of the graph. Use the High Shelf Cutoff to reduce hiss, amplifier noise, and the like. If this option is deselected, you can specify separate initial and final equalization settings, so that the selection can smoothly glide from the initial equalization setting to the final setting over the selected range.

Click the Initial Settings and Final Settings tabs to specify initial and final settings. Page Modulation Effects You can also use it to create some truly out-of-this-world special effects.

Adobe Audition uses a direct-simulation method of achieving a chorus effect, making each voice or layer sound distinct from the original by slightly varying timing, intonation, and vibrato.

The Feedback setting lets you add extra detail to the result. High values cause the separate voices to start at different times—the higher the value, the farther apart the onset of each voice may be. It was originally achieved by sending an identical audio signal to two reel-to-reel tape recorders, and then pressing the flange of one reel to slow it down.

First, use Spectral Frequency Display to visually identify and select ranges of noise or individual artifacts. Values between 6 and 30 dB work well. To reduce bubbly Reduce Noise By background effects, enter lower values. Page Use Effect Presets Detection graph ruler x-axis and threshold level along the vertical ruler y-axis.

Adobe Audition uses values on the curve to the right above dB or so when processing louder audio and values on the left when processing softer audio. Curves are color-coded to indicate detection and rejection. For example, if a quiet part still has a lot of clicks, lower the Min Threshold level a bit. If a loud piece still has clicks, lower the Avg or Max Threshold level. Page A higher detection threshold might lead to fewer repairs and increase the quality while still removing all clicks.

Determines the FFT size used to repair clicks, pops, and crackle. Page FFT Size option in other situations might help with some types of clipping. Try a setting of 40 for normal clipped audio.

In general, however, leave FFT Size unselected. In many cases, you can simply reset the graph to an even level and manipulate the Noise Floor Adjust slider. Fine-tunes the noise floor until the appropriate amount of hiss reduction and quality level is Noise Floor Adjust achieved. Extracts a noise profile from a selected range, indicating only background noise.

Adobe Audition Capture Profile gathers statistical information about the background noise so it can remove it from the remainder of the waveform. Page will likely cut out more noise, but also cut out more original signal. However, a low noise reduction level with more samples will also cut out more noise, but likely will not disrupt the intended signal.

However, you can Load From File apply noise profiles only to identical sample types. Page Reverb Effects This reflected sound is called reverberation, or reverb for short.

With Adobe Audition, you can use reverb effects to simulate a variety of room environments. Convolution- based reverbs use impulse files to simulate acoustic spaces. The results are incredibly realistic and life-like. If desired, you can then fine-tune the decay length and pre-delay. The Reverb effect can create a wide range of high-quality results. It can reproduce acoustic or ambient environments such as a coat closet, a tiled bathroom shower, a concert hall, or a grand amphitheater.

In general, the more reverb you add, the lower the volume of the original signal. If you’re trying to achieve a special effect with reverb, you might want to reduce the volume of the original signal. The sample rate of an Load impulse affects the outcome of convolution. For example, if an impulse is created at Hz, and it is later reopened and used on a Hz file, everything is stretched out If you use a smaller delay than suggested, the echo may contain more frequencies than you want.

You can ignore this delay for full spectrum echoes, as they are just single sample ticks in the impulse. Page Mastering describes the complete process of optimizing audio files for a particular medium, such as radio, video, CD, or the web. Before mastering audio, consider the requirements of the destination medium. If the destination is the web, for example, the file will likely be played over computer speakers that poorly reproduce bass sounds.

Page Stereo Imagery Effects Changing stereo imagery Adobe Audition provides several effects that let you change the apparent location, or stereo imagery, of sounds coming from the speakers. Often voice, bass, and lead instruments are recorded this way.

Higher values can produce smoother results or a Overlays chorus-like effect, but they take longer to process. Lower values can produce bubbly-sounding background noises. Values of 3 to 9 work well. Defines which path the sound source appears to take. Depending on the path type, a different set of Path Type options is available.

A Linear scale provides equal Frequency Scale weight to each frequency; a Logarithmic scale provides more low-frequency detail, better reflecting the emphasis of human hearing. Analyzes selected or played audio, and creates a graph curve that compensates for current Auto Center Pan or Phase panning or phase position, placing each frequency in the center of the stereo field.

With some material, you can create a stereo expanding effect by increasing the differences between the left and right channels. Use the graph to draw a tempo and create smooth tempo changes or other effects, like a vinyl record speeding up or slowing down.

Typically, the key is the same as the one intended for the source audio. Governs how quickly Adobe Audition corrects the pitch toward the scale tone. Faster settings are usually best Attack for audio made up of short notes, such as a fast passage played by a trumpet. You can find hundreds of tutorials for design products and learn tips and techniques through videos, HTML tutorials, and sample book chapters.

New ideas are the heart of Think Tank, Dialog Box, and Gallery: ThinkTankarticlesconsiderhowtoday sdesignersengagewithtechnologyandwhattheirexperiencesmeanfor design, design tools, and society.

In Dialog Box, experts share new ideas in motion graphics and digital design. The Gallery showcases how artists communicate design in motion. The Developer Center also contains resources for developers who develop plug-ins for Adobe products.

In addition to sample code and tutorials, you’ll find RSS feeds, online seminars, SDKs, scripting guides, and other technical resources. Visit Adobe Developer Center at Customer support Visit the Adobe Support website, at to find troubleshooting information for your product and to learn about free and paid technical support options.

Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more. Downloads Visit to find freeupdates, tryouts, and other useful software. In addition, theadobe Store at provides access to thousands of plug-ins from third-party developers, helping you to automate tasks, customize workflows, create specialized professional effects, and more.

Adobe Labs Adobe Labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. At Adobe Labs, you have access to resources such as these: Prerelease software and technologies. In this environment, customers quickly become productive with new products and technologies.

Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community. Visit Adobe Labs at User communities User communities feature forums, blogs, and other avenues for users to share technologies, tools, and information. Users can ask questions and find out how others are getting the most out of their software. User-to-user forums are available in English, French, German, and Japanese; blogs are posted in a wide range of languages.

Mix faster with new automatic crossfades, clip fade handles, and automation-editing improvements. Take full advantage of the latest hardware with multicore processor support and an optimized mixing engine. See Enable VST effects on page Auto crossfades and clip fade handles Simply overlap clips to crossfade them, and adjust fade curves with on-clip handles. See Fade or crossfade clips in a track on page Improved multitrack editing Efficiently edit sessions with these key enhancements: Collectively trim and fade grouped clips.

See Grouping clips on page Ripple-delete ranges of clips, instantly removing time gaps. See Trimming and extending clips on page Adjust selected ranges of automation points. See Edit automation envelopes on page Duplicate the contents of entire tracks, including clips, effects, and automation. See Duplicate a track on page Simultaneously view all input and output levels to comprehensively monitor a mix.

See Monitor levels on page See Save multitrack sessions on page Mix down directly to Edit View Quickly output a session directly to Edit View, without first exporting a file. See Create a single audio clip from multiple clips on page See Previewing video on page Create and arrange Adobe Audition 3.

Improved processing, including the high-quality Radius time-stretching engine from izotope and numerous new effects, gives you infinite creative options. See Effects reference. Radius time-stretching from izotope Access industry-standard algorithms in the updated Stretch effect, as well as the File Info and Audio Clip Looping dialog boxes.

Bitmap audio images Export spectral graphs for detailed editing in an image-editor like Adobe Photoshop. Or, import visually-oriented graphics as source material for experimental sound designs.

See Spectral Bitmap Image. Enhanced file sorting Sort files by track number, or by the date they were opened or created.

See Change how files appear in the Files panel on page Customizable workspaces Tint panels and dialog boxes to suit your working style. Add favorite commands to the shortcut bar. See Change interface brightness or tint on page 29 and Display the shortcut bar on page Edit and master Adobe Audition 3.

Comprehensive waveform-editing tools combined with innovative spectral frequency brushes let you edit with power and precision. Spot Healing Brush Quickly brush over artifacts to seamlessly remove them.

See Select artifacts and repair them automatically on page Effects Paintbrush Create free-form selections, and layer brush strokes to determine the intensity of effects. See Select spectral ranges on page Marquee pan and phase selections Process discrete stereo information such as center-panned vocals in Spectral Pan Display or out-of-phase audio in Spectral Phase Display. Play spectral selections Play back selected frequency, pan, and phase ranges to precisely restore and process audio.

See Play audio linearly on page On-clip fade and gain controls Visually adjust selections or entire files. See Visually fading and changing amplitude on page See View the top and tail of an audio file on page Mastering effect Optimize audio for maximum impact with a series of professional processors.

See Mastering effect on page See Adaptive Noise Reduction effect on page Graphic Panner Visually adjust the stereo field to enhance spatial perception. See Graphic Panner effect on page Play lists Organize and play marker ranges for live performance and broadcast.

See Creating play lists on page Efficient file opening and saving Specify default formats for Open and Save As dialog boxes, and quickly save groups of files to one format.

See System preferences on page 34 and Save a group of audio files to one format on page These vibrations push nearby air molecules together, raising the air pressure slightly. The air molecules under pressure then push on the air molecules surrounding them, which push on the next set of molecules, and so on.

As high-pressure areas move through the air, they leave low-pressure areas behind them. When these waves of pressure changes reach us, they vibrate the receptors in our ears, and we hear the vibrations as sound. When you see a visual waveform that represents audio, it reflects these waves of air pressure. The zero line in the waveform is the pressure of air at rest.

When the line swings up to a peak, it represents higher pressure; when the line swings down to a trough, it represents lower pressure. C A 0 B A sound wave represented as a visual waveform A.

Zero line B. Low-pressure area C. High-pressure area Waveform measurements Several measurements describe waveforms: Amplitude Reflects the change in pressure from the peak of the waveform to the trough. High-amplitude waveforms are loud; low-amplitude waveforms are quiet. Cycle Describes a single, repeated sequence of pressure changes, from zero pressure, to high pressure, to low pressure, and back to zero. Frequency Measured in hertz Hz , describes the number of cycles per second. For example, a Hz waveform has cycles per second.

The higher the frequency, the higher the musical pitch. Phase Measured in degrees, indicates the position of a waveform in a cycle. Wavelength Measured in units such as inches or centimeters, is the distance between two points with the same degree of phase. As frequency increases, wavelength decreases.

Wavelength B. Degree of phase C. Amplitude D. One second D How sound waves interact When two or more sound waves meet, they add to and subtract from each other. If their peaks and troughs are perfectly in phase, they reinforce each other, resulting in a waveform that has higher amplitude than either individual waveform. In-phase waves reinforce each other. If the peaks and troughs of two waveforms are perfectly out of phase, they cancel each other out, resulting in no waveform at all.

Out-of-phase waves cancel each other out. In most cases, however, waves are out of phase in varying amounts, resulting in a combined waveform that is more complex than individual waveforms. A complex waveform that represents music, voice, noise, and other sounds, for example, combines the waveforms from each sound together. Because of its unique physical structure, a single instrument can create extremely complex waves. That s why a violin and a trumpet sound different even when playing the same note.

Two simple waves combine to create a complex wave. Analog audio: positive and negative voltage A microphone converts the pressure waves of sound into voltage changes in a wire: high pressure becomes positive voltage, and low pressure becomes negative voltage. When these voltage changes travel down a microphone wire, they can be recorded onto tape as changes in magnetic strength or onto vinyl records as changes in groove size.

A speaker works like a microphone in reverse, taking the voltage signals from an audio recording and vibrating to recreate the pressure wave. Digital audio: zeroes and ones Unlike analog storage media such as magnetic tape or vinyl records, computers store audio information digitally as a series of zeroes and ones.

In digital storage, the original waveform is broken up into individual snapshots called samples. This process is typically known as digitizing or sampling the audio, but it is sometimes called analog-todigital conversion. When you record from a microphone into a computer, for example, analog-to-digital converters transform the analog signal into digital samples that computers can store and process. Sample rate Sample rate indicates the number of digital snapshots taken of an audio signal each second.

This rate determines the frequency range of an audio file. The higher the sample rate, the closer the shape of the digital waveform is to that of theoriginalanalogwaveform. A B Two sample rates A. Low sample rate that distorts the original sound wave. High sample rate that perfectly reproduces the original sound wave.

To reproduce a given frequency, the sample rate must be at least twice that frequency. See Nyquist frequency on page For example, CDs have a sample rate of 44, samples per second, so they can reproduce frequencies up to 22, Hz, which is beyond the limit of human hearing, 20, Hz.

Here are the most common sample rates for digital audio:. When a sound wave is sampled, each sample is assigned the amplitude value closest to the original wave s amplitude. Higher bit depth provides more possible amplitude values, producing greater dynamic range, a lower noise floor, and higher fidelity: Bit depth Quality level Amplitude values Dynamic range 8-bit Telephony db bit CD 65, db bit DVD 16,, db bit Best 4,,, db db db 96 db 48 db 0 db 8-bit bit bit bit Higher bit depths provide greater dynamic range.

Audio file contents and size An audio file on your hard drive, such as a WAV file, consists of a small header indicating sample rate and bit depth, and then a long series of numbers, one for each sample. These files can be very large. For example, at 44, samples per second and 16 bits per sample, a file requires 86 KB per second about 5 MB per minute.

That figure doubles to 10 MB per minute for a stereo CD, which has two channels. Through Line In or Microphone In ports, the sound card receives analog audio and digitally samples it at the specified rate. Adobe Audition stores each sample in sequence until you stop recording. When you play a file in Adobe Audition, the process happens in reverse.

Adobe Audition sends a series of digital samples to the sound card. The card reconstructs the original waveform and sends it as an analog signal through Line Out ports to your speakers.

To summarize, the process of digitizing audio starts with a pressure wave in the air. A microphone converts this pressure wave into voltage changes.

A sound card converts these voltage changes into digital samples. After analog sound becomes digital audio, Adobe Audition can record, edit, process, and mix it the possibilities are limited only by your imagination. In Multitrack View, you layer multiple audio files, mixing them together to create sophisticated musical compositions and video soundtracks.

With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio.

This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows. Edit audio 3. Apply effects 4.

Save changes In Edit View, you edit, restore, and enhance individual audio files, such as voiceovers, old vinyl recordings, and more. Any saved changes are permanent, making Edit View a great choice for mastering and finalizing files. See Editing audio files on page Open or create a file Open an existing audio file that you want to modify. Alternatively, create a blank file that you ll record or paste audio into.

See Opening audio files in Edit View on page To create a sonic collage, combine pasted audio from multiple files. Then, select noise or other audio you want to process with effects. See Selecting audio on page In the rack, you can edit and reorder effects until you achieve the perfect results.

See Applying effects in Edit View on page See Saving and exporting files on page and Building audio CDs. Saving a file to disk Multitrack workflow Open session 2. Insert or record files 3. Arrange clips 4. Apply effects 5. Mix tracks 6. Export In Multitrack View, you layer multiple audio files to create stereo or surround-sound mixes. The edits and effects you apply aren t permanent; if a mix doesn t sound good next week, or even next year, simply change mix settings.

See About multitrack sessions on page When you create a new session, you specify the sample rate for audio clips the session will contain. See Opening and adding to sessions in Multitrack View on page To build a particularly flexible session, insert audio loops you can choose from over on the Adobe Audition Loopology DVD. See Insert an audio file into a session on page 47 and Record audio clips in Multitrack View on page Inserting from the Files panel. In Multitrack View, edits are impermanent for maximum flexibility.

Because of its unique physical structure, a single instrument can create extremely complex waves. That s why a violin and a trumpet sound different even when playing the same note. Two simple waves combine to create a complex wave.

Analog audio: positive and negative voltage A microphone converts the pressure waves of sound into voltage changes in a wire: high pressure becomes positive voltage, and low pressure becomes negative voltage. When these voltage changes travel down a microphone wire, they can be recorded onto tape as changes in magnetic strength or onto vinyl records as changes in groove size. A speaker works like a microphone in reverse, taking the voltage signals from an audio recording and vibrating to recreate the pressure wave.

Digital audio: zeroes and ones Unlike analog storage media such as magnetic tape or vinyl records, computers store audio information digitally as a series of zeroes and ones. In digital storage, the original waveform is broken up into individual snapshots called samples. This process is typically known as digitizing or sampling the audio, but it is sometimes called analog-todigital conversion.

When you record from a microphone into a computer, for example, analog-to-digital converters transform the analog signal into digital samples that computers can store and process. Sample rate Sample rate indicates the number of digital snapshots taken of an audio signal each second. This rate determines the frequency range of an audio file.

The higher the sample rate, the closer the shape of the digital waveform is to that of theoriginalanalogwaveform. A B Two sample rates A. Low sample rate that distorts the original sound wave. High sample rate that perfectly reproduces the original sound wave. To reproduce a given frequency, the sample rate must be at least twice that frequency. See Nyquist frequency on page For example, CDs have a sample rate of 44, samples per second, so they can reproduce frequencies up to 22, Hz, which is beyond the limit of human hearing, 20, Hz.

Here are the most common sample rates for digital audio:. When a sound wave is sampled, each sample is assigned the amplitude value closest to the original wave s amplitude. Higher bit depth provides more possible amplitude values, producing greater dynamic range, a lower noise floor, and higher fidelity: Bit depth Quality level Amplitude values Dynamic range 8-bit Telephony db bit CD 65, db bit DVD 16,, db bit Best 4,,, db db db 96 db 48 db 0 db 8-bit bit bit bit Higher bit depths provide greater dynamic range.

Audio file contents and size An audio file on your hard drive, such as a WAV file, consists of a small header indicating sample rate and bit depth, and then a long series of numbers, one for each sample. These files can be very large. For example, at 44, samples per second and 16 bits per sample, a file requires 86 KB per second about 5 MB per minute. That figure doubles to 10 MB per minute for a stereo CD, which has two channels.

Through Line In or Microphone In ports, the sound card receives analog audio and digitally samples it at the specified rate. Adobe Audition stores each sample in sequence until you stop recording. When you play a file in Adobe Audition, the process happens in reverse.

Adobe Audition sends a series of digital samples to the sound card. The card reconstructs the original waveform and sends it as an analog signal through Line Out ports to your speakers.

To summarize, the process of digitizing audio starts with a pressure wave in the air. A microphone converts this pressure wave into voltage changes. A sound card converts these voltage changes into digital samples. After analog sound becomes digital audio, Adobe Audition can record, edit, process, and mix it the possibilities are limited only by your imagination.

In Multitrack View, you layer multiple audio files, mixing them together to create sophisticated musical compositions and video soundtracks.

With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio. This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows. Edit audio 3. Apply effects 4. Save changes In Edit View, you edit, restore, and enhance individual audio files, such as voiceovers, old vinyl recordings, and more.

Any saved changes are permanent, making Edit View a great choice for mastering and finalizing files. See Editing audio files on page Open or create a file Open an existing audio file that you want to modify. Alternatively, create a blank file that you ll record or paste audio into. See Opening audio files in Edit View on page To create a sonic collage, combine pasted audio from multiple files.

Then, select noise or other audio you want to process with effects. See Selecting audio on page In the rack, you can edit and reorder effects until you achieve the perfect results.

See Applying effects in Edit View on page See Saving and exporting files on page and Building audio CDs. Saving a file to disk Multitrack workflow Open session 2. Insert or record files 3. Arrange clips 4. Apply effects 5. Mix tracks 6. Export In Multitrack View, you layer multiple audio files to create stereo or surround-sound mixes. The edits and effects you apply aren t permanent; if a mix doesn t sound good next week, or even next year, simply change mix settings.

See About multitrack sessions on page When you create a new session, you specify the sample rate for audio clips the session will contain. See Opening and adding to sessions in Multitrack View on page To build a particularly flexible session, insert audio loops you can choose from over on the Adobe Audition Loopology DVD. See Insert an audio file into a session on page 47 and Record audio clips in Multitrack View on page Inserting from the Files panel.

In Multitrack View, edits are impermanent for maximum flexibility. But if you want to permanently edit a clip, simply double-click it to enter Edit View. See Arranging clips on page and Editing clips on page Arranging and editing clips in the Main panel Apply effects Apply effects in the Effects Rack, where you can edit, group, and reorder effects on each track. At any future time, you can update or remove effects to address the needs of different audio projects.

See Applying effects in Multitrack View on page Applying effects in the Effects Rack. As you build more complex mixes, combine related tracks in buses, and use sends to output individual tracks to multiple destinations. Then automate effect and mix settings over time, creating a dynamic, evolving mix that highlights different musical passages. See Track routing and EQ controls on page and Automating track settings on page Routing and mixing tracks in the Mixer Export Export your finished mix to a file, which you can automatically insert in Edit View for mastering or CD View for archiving and distributing.

See Export a session to an audio file on page and Building audio CDs. However, all three views have similar basic components, such as view buttons, the Main panel, and the status bar. View buttons B. Menu bar C. Toolbar D. Shortcut bar E. Main panel F. Various other panels G. Status bar G. To edit individual files, use Edit View. Edit View and Multitrack View use different editing methods, and each has unique advantages.

Edit View uses a destructive method, which changes audio data, permanently altering saved files. Such permanent changes are preferable when converting sample rate and bit depth, mastering, or batch processing. Multitrack View uses a nondestructive method, which is impermanent and instantaneous, requiring more processing power, but increasing flexibility. This flexibility is preferable when gradually building and reevaluating a multilayered musical composition or video soundtrack. You can combine destructive and nondestructive editing to suit the needs of a project.

If a multitrack clip requires destructive editing, for example, simply double-click it to enter Edit View. Likewise, if an edited waveform contains recent changes that you dislike, use the Undo command to revert to previous states destructive edits aren t applied until you save a file.

For more information about Edit View, see Editing audio files on page 65; for more information about Multitrack View, see Mixing multitrack sessions. In Multitrack View, double-click an audio clip to open it in Edit View. Alternatively, double-click a file in the Files panel. Or, select an audio clip in either the Files panel or the Main panel, and then click the Edit File button in the Files panel. Comparing Edit View and Multitrack View on page 20 Keys for opening views on page Zooming audio Zooming adjusts the view of the timeline display in the Main panel.

The ideal zoom level depends on your current task. For example, you can zoom in to see details in an audio file or multitrack session, or you can zoom out to get an overview. YoucaneitherclickbuttonsintheZoompanel,ordragscrollbars and rulers. Click buttons in Zoom panel B. Drag scroll bars C. Click the Zoom In Horizontally button to zoom in on the center of the visible waveform or session.

Click the Zoom To Selection button to zoom in on the currently selected range. Click the Zoom Out Horizontally button to zoom out from the center of the visible waveform or session. Zoom with a scroll bar or ruler In the Main panel, do any of the following Move the pointer to either edge of a horizontal or vertical scroll bar. When the pointer becomes a magnifying glass with arrows, drag left or right, or up or down.

Right-click and drag in the horizontal ruler to zoom into a specific time range. The magnifying glass icon appears, creating a selection that shows you the range that will fill the Main panel. Edit View only Right-click and drag in the vertical ruler to zoom into a specific amplitude range. The magnifying glass icon appears, creating a selection of the range that will fill the Main panel.

To zoom with the mouse wheel, place the pointer over the appropriate scroll bar or ruler, and roll the wheel. In Edit View, this zoom method also works when the pointer is over the waveform.

You can set the percentage of this zoom on the General tab of the Preferences dialog box. See General preferences on page Navigate with a scroll bar or ruler At higher zoom levels, you may need to scroll to see different audio content in the Main panel.

This sets the position of the scroll bar for only the current view Edit View or Multitrack View. Horizontal scroll bar B. Vertical scroll bar Multitrack View only C. Vertical ruler Edit View only D. Horizontal ruler To scroll through time, drag the horizontal scroll bar, or drag left or right in the horizontal ruler.

To scroll through audio amplitudes in Edit View, drag up or down in the vertical ruler. To scroll through tracks in Multitrack View, drag the vertical scroll bar. To scroll through tracks with the mouse wheel, place the pointer over the track display, and roll the wheel. The panel displays this information in the current time format, such as Decimal or Bars And Beats.

See To change the time display format on page Monitoring time during recording and playback on page 54 Dock, group, or float panels on page Although each application has its own set of panels such as Tools, Properties, Timeline, and so on , you move and group panels in the same way across products. The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that stand alone.

You customize a workspace by arranging panels in the layout that best suits your working style. You can create and save several custom workspaces for different tasks for example, one for editing and one for previewing. You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window.

As you rearrange panels, the other panels resize automatically to fit the window. YoucanusefloatingwindowstocreateaworkspacemorelikethoseinpreviousversionsofAdobeapplications,orto place panels on multiple monitors. B C A Example workspace A. Application window B. Grouped panels C. Individual panel For a video about the Adobe workspace, see Dock, group, or float panels You can dock panels together, move panels into or out of a group, and undock a panel so that it floats in a new window above the application window.

As you drag a panel, drop zones areas onto which you can move the panel become highlighted. The drop zone you choose determines where the panel is inserted, and whether it docks or groups with other panels. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel. Groupingapanelstacksit with other panels. A B C Dragging panel A onto grouping zone B to group it with existing panels C Dock or group panels 1 If the panel you want to dock or group is not visible, choose it from the Window menu.

Drag group gripper to move entire group The application docks or groups the panel, according to the type of drop zone. Undock a panel in a floating window When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window.

You can use floating windows to make use of a secondary monitor, or to create a workspace like those in earlier versions of Adobe applications. Select the panel you want to undock if it s not visible, choose it from the Window menu , and then do one of the following: Choose Undock Panel or Undock Frame from the panel menu. Undock Frame undocks the panel group. When you release the mouse button, the panel or group appears in a new floating window.

Drag the panel or group outside the application window. If the application window is maximized, drag the panel to the Windows task bar. Resize panel groups When you position the pointer over dividers between panel groups, resize icons appear. When you drag these icons, all groups that share the divider are resized. For example, suppose your workspace contains three panel groups stacked vertically.

If you drag the divider between the bottom two groups, they are resized, but the topmost group doesn t change. Do not press Shift. Press the tilde key again to return the panel to its original size.

The pointer becomes a double-arrow. To resize in both directions at once, position the pointer at the intersection between three or more panel groups. The pointer becomes a four-way arrow.

 
 

adobe audition cs6 user manual pdf

 
 

Page Generating noise is useful for creating soothing sounds like waterfalls perfect for use with the Binaural Auto-Panner function of Adobe Audition and for generating signals that can be used to check out the frequency response of a speaker, microphone, or other audio system component. Page Intensity noise becomes more erratic and sounds harsher and louder. Determines the number of seconds of noise that Adobe Audition generates.

Page Converting The Sample Type whether the waveform is mono or stereo. You can convert the sample type to change any of these attributes. Page Enter a sample rate in the text box, or choose a common sample rate from the list. Click OK. Note: Although you can create and edit any sample rate in Adobe Audition, your sound card may not be capable of playing it properly.

When converting to a lower bit depth, Adobe Audition provides dithering options to help reduce noise and distortion. Although dithering intro- duces a small amount of white noise, the result is far preferable to the increased distortion that you would otherwise hear at low signal levels.

Page You may also specify that no noise shaping is used. Enables or disables dithering. If dithering is enabled, Adobe Audition Sets the bit amount of dithering to be applied.

In general, values of 0. Alternatively, click the Convert Sample Type button in the toolbar. Adjust the settings as desired. Click Save As, type a name for the preset, and click OK. To delete a sample rate conversion preset: Choose the preset from the list, and click Delete.

These analysis options are particularly helpful when used in conjunction with the many enhancement and restoration effects in Adobe Audition. Page In Edit View, select or play a range of the waveform. Page Click this button to scan the highlighted selection and show all frequencies present Scan in that selection.

By default, Adobe Audition analyzes only the center point of a selected range. To analyze the overall frequency of a selected range, click Scan. Page To zoom in on a particular area of the Phase Analysis graph, use the horizontal and vertical rulers. Normalize Select from the following options: Display menu Page RMS formula.

Use the Histogram tab to identify prevalent amplitudes, and then compress, limit, or normalize them with an amplitude effect. Select Left or Right to display either the left or right channel in the foreground. To view numerical waveform statistics: In Edit View, select an audio range. Page Removing Noise 5 to Run Size is the second most important parameter. A setting of about 25 is best for high-quality work. Level of detected clicks and pops B.

You can access these settings in the Display tab of the Settings dialog box. Most clicks appear as bright vertical bars that extend from the top to the bottom of the waveform display. To reduce hiss: In Edit View, select an audio range. Set the desired options. Using the Noise Reduction effect Edit View only The Noise Reduction effect dramatically reduces background and broadband noise with a minimal reduction in signal quality.

This effect can remove a wide range of noise, including tape hiss, microphone background noise, cycle hum, or any noise that is constant throughout a waveform.

Use this effect to remove very narrow frequency bands, such as a 60 Hz hum, while leaving all surrounding frequencies untouched. Page measured in degrees or group delay measured in milliseconds , depending on whether the Phase or Delay option is selected. Group Delay milliseconds B. In Effects tab of the Organizer window, expand Amplitude, and double-click Envelope. You can use this effect to limit or compress dynamic range, producing a consistent level of perceived loudness.

In the Effects tab of the Organizer window, expand Amplitude, and double-click Normalize. You can add subtle or psychedelic audio effects, and you can even correct the pitch of an out-of-tune singer.

Page As a result, you can use this effect to bring up the volume of the vocals, lead bass, or kick drum or remove any of them from the stereo mix. Using the Doppler Shifter effect Edit View only The Doppler Shifter effect creates the increase and decrease in pitch we notice when an object approaches and then passes us, such as when a police car passes with its siren on.

You can also use it to create some truly out-of-this-world special effects. Adobe Audition uses a direct-simulation method of achieving a chorus effect, meaning that each voice or layer is made to sound distinct from the original by slightly varying the timing, intonation, and vibrato.

The resulting sound has a phase-shifted, time-delay effect, characteristic of psychedelic recordings of the s and s. For example, the Pitch Correction effect can correct an out-of-tune vocalist or instrument, and the Stretch effect can stretch or shrink audio without altering pitch or tempo. If you add the dynamic delay or Dynamic EQ, which has a similar principle to Multi- track View, you get a new envelope that determines the delay.

Page The number of echoes is adjustable up to , Keep in mind that the more echoes you include, the more time Adobe Audition needs to process the effect. You can create a spatial, stereo expansion effect by setting the virtual microphones farther apart than your actual stereo speakers. However, they give an impression of space. With Adobe Audition, you can customize the reverb and replicate a variety of room environments. For slightly faster processing and more control, you can also use the Studio Reverb effect.

Page To get a feel for Convolution, open and play with some of the sample Impulse. While this function is far from a complete MIDI authoring studio, it provides a quick and simple way to put a sample to music. Note: This selection must be under ten seconds long. Page Split points are determined by the crossover frequencies you specify. Each copy of the waveform is placed in its own track in the session window. You can then edit or apply effects to each band separately.

Page CHAPTER 6 Applying Stereo, Pitch, and Delay Effects For example, using the default setting of three bands with crossover values of and creates three copies of the selected waveform: one with the frequencies of the selected wave from 0 to Hz, one from to Hz, and one from to Hz or whatever the maximum frequency present is, based on the sample rate.

Page Note: If you select a range by dragging across a clip, that clip is selected by default; if you Ctrl- click the clip, you will deselect it. In the Effects tab of the Organizer window, expand Multitrack, and double-click Vocoder.

Page Working With Sessions You can base new sessions on the default session, borrowing default settings such as device Page Click OK. Setting the default session After you set a default session, it opens when you start Adobe Audition. The default can also serve as a template for new sessions, letting you share settings such as device assign- ments and master volume levels across multiple sessions. Page The Mix Gauge displays the progress of background mixing, a process that Adobe Audition completes whenever you edit a mix for example, by moving a clip or changing track volume.

Longer settings allow for faster mix editing, but they might cause drop outs. You can easily move clips to different tracks or timeline positions.

You can also edit clips nondestructively, trimming their start and end points, crossfading them with other clips, and more. Alternatively, right-click any clip in the group, and choose Group Color. Select a color, and click OK. To align clips: Hold down Ctrl, and select the clips. Page Drag to edit clip edges. Alternatively, right-click the clip, and choose Full. Page With the Clip Duplicate command, you can duplicate repetitions of a clip in a track without consuming additional disk space.

You can also specify the spacing between each repetition. Crossfades consist of a fade out and a fade in over a transition region. Page You can quickly time stretch a clip either by dragging or setting time stretch properties. When you set properties for time stretching, you also specify which method of time stretching to use.

Page Working With Audio Tracks Working with audio tracks You can record and mix up to tracks in Adobe Audition, and each track can contain as many clips as you need—the only limit is hard disk space. The track controls appear to the left of the track display, and you can resize these controls to be as wide or narrow as you wish.

Though you can quickly access most of these options in the track controls, the Track Properties window offers channel and bit depth menus, and visual sliders for volume and pan. Page Same For All Tracks. To specify an output device for a track: In the track controls, click the Out button. Select a hardware output from the Devices list or a bus output from the Busses list. Setting track channel and bit depth To set the channel and bit depth for a track, use the Track Properties dialog box.

Track Properties dialog box with channel menu revealed and bit-depth menu highlighted To set channel and bit depth for a track Note, however, that saved sessions store only changes made in Adobe Audition; be sure to also save any changes made in the ReWire slave application.

If the Organizer window is closed, right-click the FX button in the track controls, choose Rack Setup, and add the effect in the Effects Rack dialog box.

Page To change the ratio of dry to wet sound that the track outputs, move the Dry Out slider and the effects sliders. To combine effects in serial or parallel groups, click either Serial or Parallel.

Page Automating Mixes With Clip Envelopes After you apply real-time effects to a track and edit them, you can lock the track to save processing power for other mixing tasks—an important consideration for complex mixes.

Adobe Audition stores locked tracks in the background mix, removing them from the CPU load. Page To move all control points up or down by the same amount, hold down Alt while you drag. However, some synthesizers are programmed so that velocity changes pitch or harmonic content.

Page To automate volume and pan changes over time, use clip envelopes. The Track Mixer A. Track controls B. Control display buttons C. Page Pan shows and hides the Pan controls. Opens the Adobe Audition Playback Devices window, which lets you assign the Out 1 output properties for the selected track.

Page Scroll bar Using the Bus Mixer Adobe Audition gives you the ability to organize multiple tracks into buses, which are especially useful for grouping related tracks and collectively adding real-time effects or adjusting volume.

For example, you can output four tracks of background vocals to one bus, and then apply one reverb effect to that bus. Bus controls B. Click the Bus Mixer tab, and then click New in the right-most Bus channel. Page or click the triangle below it to reduce volume. Alternatively, enter a value in decibels in the text box above the slider. You can also mix down entire sessions, exporting them in a variety of formats.

The beats in the waveform are now indicated, helping you select a start and end that lands on the beat. Adobe Audition assumes that this represents a downbeat. Changing this value updates the Song Start value based on the current tempo settings. Page Repeat Every X Beats are entered automatically so that the audio clip loops continuously at the proper tempo.

All loop-enabled clips automatically adjust to match new settings; regular clips are unaffected. Also consider snapping non-loop-enabled audio clips to the beat and each other, so that all clips are aligned. You can snap the current-time indicator, too. Page CHAPTER 8 Using Loops To extend or shorten a loop-enabled clip: Select the clip, and then position the pointer over the bottom left or right handle—the loop editing icon Drag the handle to extend the loop the desired number of bars.

Depending on how far you drag, you can make the loop repeat fully or partially. To view more thumbnails in a video clip: Horizontally magnify the session display. You can customize the preview to optimize it for your monitor size and system speed.

Page Preparing Video Mixdowns For Export Prior to exporting a video mixdown, you can preview it to ensure that it will sound as you expect and, if not, edit the session as desired. Page You can also use this procedure to export an audio mixdown that you combine with video in a video application, such as Adobe Premiere Pro. Though video mixdowns are limited to stereo audio and AVI format, audio mixdowns support stereo and surround sound in a variety of formats. With this dialog box, you can individually pan each track of a multitrack session to your multichannel setup, preview the current mix, and export the session.

Direct X 8. If your system does not meet these requirements you may receive a warning message and your Play Track and Play All buttons will not be accessible. Once all your tracks are added, achieve a basic stereo mix balance with your desired track volume, stereo pan, and FX settings. Once the Panner Point is in any one of these speaker locations, the audio from the currently selected track is summed to a mono signal and sent discretely to this one speaker channel. Go To Beginning Plays the currently selected track from the cursor location.

Playback always Play Track plays to the end of the track, regardless of the current zoom level. Page From the Multichannel Output Device menu, specify the preview sound card. Controls the volume of the preview playback, without affecting the This set of six meters displays the output of each Displays the currently selected device to which Adobe Audition Page Exporting Surround-Sound Files For sound cards that offer an interleaved multichannel driver, you should select this from the list.

These driver types will accept the 6-audio input from Adobe Audition and automatically route it to the standard Microsoft 5. To export your multichannel session: Click Export at the bottom right of the Multichannel Encoder dialog box.

Specify the attenuation parameters to control how the levels of the Center, Surround, and LFE channels get mixed down with the front stereo channels and played back on a stereo output system.

Page If a session includes an. Click Options in the Save As dialog box to access these options. Page As it saves a. Then, when Adobe Audition opens a. It has different distortion characteristics, which can produce either better or worse results depending on the sample being compressed. When you open an. As a result, you can save an. Page SampleVision. This format supports only mono, bit audio.

This format also supports loop points, which you can edit in the Cue List window. Page Scripting And Batch Processing About scripting and batch processing Adobe Audition scripts let you save a series of actions such as copying data or applying an effect, so you can perform those actions again with the click of a button.

Adds silence between cue points in the current waveform. Applies an equal loudness contour, where the middle Determines how Adobe Audition handles out-of-band peaks. Click the Run Script tab at the bottom of the Batch Processing dialog box.

Page Working With Scripts????. Page Use the Scripts dialog box to create your scripts. To create a script: Set up Adobe Audition for the script you want to create. To run a script: Set up Adobe Audition to match the starting point of the script. If you want to run a script that starts from scratch, close all open waveforms. Page CHAPTER 12 Scripting and Batch Processing For example, if a script was recorded with the current-time indicator at , selecting this option applies the script at the current cursor position, plus 10 seconds: If the current cursor position is at , the script would start at The Favorites dialog box lets you create, edit, customize, and save these commands, which are based on your favorite Adobe Audition effects, scripts, and even third-party tools the latter using command line executables.

You can even organize favorites into hierarchical submenus for easy navigation. Note: If the keyboard shortcut you type is already used by Adobe Audition, a dialog box appears, giving you the option to overwrite the current shortcut.

Page The button to the right of the text box opens the Browse For Tool dialog box that lets you navigate to the desired tool. Displays instructions for adding separators and submenus to the Favorites Help tab menu. If you want to set additional properties for the track, select Use Custom Track Properties. Note: Audio on CDs must be If you insert a track with a different sample type, Adobe Audition automatically converts the audio for you.

Choose the device you want to use to write the CD. Click Device Properties to set device properties, as described in the previous procedure. Note: Adobe Audition displays most default keyboard shortcuts in menu commands and tool tips.

Keys for playing audio Space Sound fundamentals Sound is created by vibrations, such as those produced by a guitar string, vocal cords, or a speaker cone. Cycle describes the amount of time it takes a waveform to return to the same amplitude level. Frequency describes the number of cycles per second, where one Hertz Hz equals one cycle per second.

Sometimes the peaks of one waveform match up with the troughs of another. The peaks and troughs will cancel each other out, resulting in no waveform at all. Such waveforms are said to be degrees out of phase. Analog audio A microphone works by converting the pressure waves of sound into changes in voltage on a wire. These changes in voltage match the pressure waves of the original sound: high pressure is represented by positive voltage, and low pressure is represented by negative voltage.

Page Bit Depth Each additional bit doubles the number of states that can be represented, so a third bit can represent eight states, a fourth 16, and so on. The sound card determines the supported sample rates and bit depths.

The possibilities for manipulation of digital audio within Adobe Audition are limited only Some ACM formats install with Windows, while others install with software applications. Page for example, to identify an editing point. Migration Manager migrates all user settings and files from one device to another.

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