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User Guide - New Hope Church

1. dB Volume T Lock to these settings only p Frequency Components 33 33 100 2 14 2 3 al al Base Frequency 220 Hz 4 al 2 sf 2 Ei EF Modulate By 2 Hz Modulation Frequency 1 5 Hz BTE ik R r Phasing r DC Offset Presets Add _Del Start Phase Change i A 440 default Phase Difference Rate _Breview Bell o s mo E 0 mm maj Out Of Control r General r Source Modulation gt Close Flavor Sine z 1E Modulate Duration 10 ids F ae uration secon D mii Help Generate Tones dialog Initial Settings When the Lock to these settings only box is unchecked choose this tab to select the initial tone settings The tone generated will gradually go from the initial state to the final Final Settings When the Lock to these settings only box is unchecked choose this tab to select the final tone settings The tone generated will gradually go from the initial state to the final ADOBE AUDITION 193 User Guide Lock to these settings only Check or uncheck this box as desired e If checked the overtones base frequency modulation modulation frequency frequency multipliers and overtone intensities are constant they do not vary over time e Uncheck this box to dynamically change the proportion of any overtone over time by choosing the initial and final proportions You may also dynamically change the frequency multipliers base frequency modulation and modulation frequency for
2. Show Levels on Play and Record Chapter 20 Appendix A Appendix B MIDITrigger Enable sesccssccceseactadesdevedeiaveees aa i MIDI Panic Button sespasssisros niesna anapi neeaae Synchronize Blocks with Edit View eee eee eee eee eee ee SMPTE Slave Enable ssaccicceicosnciaieeedeesoaes aides eeedes SMPTE Master Enable s csccsdorsavatanteterdsgeeiades ane SMPTE Start Offset dacs odds iadeageedade E E ERR EE Sample Accurate Syne saciicaseedseacoese EE aE Pause Background Mixing kee eee eee eee e uE Metronome gasicviececiece sinoni EENEN sans Windows Recording Mixer 0 cece eee e cece iiaei Rai SetluNGS oari enen ea sadn sagan AA EN woven es agentes Device Properties oo eee eee cence cece e renee enennee Device Order s c5 ci seadaigeasseegiessdi de aeannenad A y E Shortcuts Keyboard amp MIDI Triggers 0 ee eee eee eee eee ee Multichannel Encoder Multichannel Encoder Requirements 2 eee e eee eee eee Elements of the Multichannel Encoder 2c cc eeeee eens Opening Encoded and Exported files back in Adobe Audition Keyboard Shortcuts File MenU ShOrtcuts sosronsieapuwdvegenescebseatiens doses EditM nu Shortcuts cvccysdeveswnssteasaechenteare E calnees Seroll Sel ct ShorteutS scxctaseddesesvade ae e aah View Menu Shortcuts seise eee eee eee iana a Analyze Menu Shortcuts eee ee eee eee eee nee e ee eee Options Menu Shortcuts eee eee cece cece eee e
3. Repeat every X seconds If the wave block already has loop info entered the proper values in the Repeat every X seconds and Repeat every X beats fields will be entered automatically so that the wave block will loop continuously at the proper tempo If you change the number in the Repeat every X seconds field Adobe Audition ignores the tempo of the file and stretches the file to force it to finish its loop every X seconds Normally youd want to have this option selected and enter the number of beats in the Source Waveform Information area below Repeat every X beats If the wave block already has loop info entered the proper values in the Repeat every X seconds and Repeat every X beats fields will be entered automatically so that the wave block will loop continuously at the proper tempo If you change the number in the Every X beats field Adobe Audition will stretch the file to force a loop to complete in the specified number beats However you d normally want to have Repeat every X beats selected and enter the number of beats in the Source Waveform Information area below Follow session tempo When this is checked the file plays at the session s tempo no matter what its native tempo was For instance if you play a 100 bpm loop ina 120 bpm session the loop will be stretched to match This disables the bpm field above If you don t have this checked then the file will play at the bpm specified in the blank above regardless of the session
4. I Remember these settings for next time when saving copies these settings will always be used All session entities will be saved to the same folder as the session project file Cancel Session Save Options dialog Save all copies in this format Check this box to activate the drop down menu below which lets you choose the format to save the files to If the chosen format has options the Format Properties button will be enabled allowing you to adjust format parameters Convert Sample Rate Checking this box enables the drop down menu to the right which lists many commonly used sample rates Chose the sample rate you wish to convert your session files to It also enables the Conversion Properties button Press it to display Adobe Audition s Waveform Conversion Options dialog which is essentially identical to the Edit View s Convert Sample Type control Remember these settings for next time Check this box if you wish Adobe Audition to always use the Save all copies in this format and Convert Sample Rate settings each time Save Mixdown As This command brings up the Save 16 bit Mixdown To or Save 32 bit Mixdown To window depending on if you re working in the 16 bit or 32 bit realm which allows you to save the current mixdown to a new name location or format You ll also use the File gt Save Mixdown As function to save newly constructed mixdowns to disk Free space on all available drives is displayed in the ri
5. Looking at the Work Area chapter Log Scale Choose this option to display the x axis frequency scale logarithmically rather than in linear fashion When Log Scale is checked the graph represents the frequency curve more closely to the way the ear hears sound e To do finer editing in low frequencies leave Log Scale checked e For detailed high frequency work or work with evenly spaced intervals in frequency uncheck this option Spline Curves Check this box to generate a smoother best fit curve instead of a straight line between control points on the graph When you use spline curves the line won t ordinarily travel directly through the control points Instead the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Flat Press the Flat button to reset the curve to its default state of an unchanged signal removing all Control Points Max Min These boxes allow you to enter a maximum and minimum value for the graph s y axis Adobe Audition displays the values in the ruler to the right of the graph These settings affect the maximum boost or cut that the frequency curve represents FFT Size The FFT Size paramet
6. e 24 bit packed int type 1 20 bit saves straight 24 bit integers so any data beyond the bounds is clipped The wav BitsPerSample field is set to 20 and BlockAlign is set to 3 bytes per channel The extra 4 bits that are saved are actually the remaining valid bits when saving and are used when reading thus still giving 24 bit accuracy if those bits were actually present when writing Applications should either fill those last 4 bits with zeros or with actual data but generally analog digital converters that generate 20 bits of valid data automatically set the remaining 4 bits to zero Any type 1 format with BlockAlign set to 3 bytes per channel is assumed to be packed integers and a BitsPerSample field between 17 and 24 inclusively will read in all 24 bits and assume the remaining bits are either accurate or set to zero e 32 bit int type 1 32 bit saves 32 bit audio as 32 bit integers e Enable Dithering will dither 32 bit files when saving to a PCM format 20 bit 24 bit or 32 bit This option is only available if you have a 32 bit file and you select to save it as a nonfloating point type format The dither used is a Trian gular dither depth 1 0 with no noise shaping If you wish to apply a noise shaped dither use Edit gt Convert Sample Type to dither the audio first then save without dither enabled in the file format options Windows Media Audio wma The Windows Media Audio filter enables Adobe Audition to directly
7. sssssssssssssrsssrersrerseerrsreesee 281 Show Pan Envelopes 1 eee cece cece ene e eee eee eneeeenee 281 Show Volume Envelopes eee eee eee eect eee eee eneeeeeee 281 Show Wet Dry Mix Envelopes ccc eee eee eee eee ee eee 282 Show FX Parameter Envelopes cece eee e cece eens 282 Show Tempo Envelopes cece cece cece cnet e eect ene eenes 283 Enable Envelope Editing oo eee cece cence eee eens 283 Enable Block Edge Dragging cece cece eee eee e eens 283 S ssion Properties dan aswiasesndidedeseddenensddeaasawen der 284 Show Mixers Window sooie eee eee eee eee eee nee EEE 284 Tracks Mixer TaD serci areenaa E ER 286 Bus Mix rTab seodesionie tinea E ES 289 Show Track EQ WINdOW ssh arama aE A EEEE eae eis 290 Show Track Properties sert irirer anea teeta latina EEA 291 Show Organizer Window 0 eee cece cence cence erence 293 Show GUe List sc cess aeaciacesa crate A EEE sees 293 Show Transport Buttons cece cece eee eee eect eens 294 Chapter 16 Show ZooM Buttons asscssavsceyas teadeetoeeeseevadesa vaca 294 Show TIME WINdOW gt aise acd oscngaevs dosed nna naekna 294 Show Sel View Controls 0 62 ee eee eee cece ee eee rece a aa 294 Show Level Meters 1 0 se eee eee eee eee cere et eeeeneeeees 294 Show Load Meter osicsdedinwaccgseevoeditetdegnasadedweoeeds 294 Show Video Window se eee eee ce eee cece eect eeeeeneeeees 295 Show a Placek eper sasccacseeoc
8. 186 CHAPTER 8 Effects Menu Edit View Ratio Length Boxes You can enter a desired Ratio in percentage or final Length in time for the stretch Entering one automatically changes the other If the initial and final lengths are different then the actual final length will be exactly initial final 2 when in Preserve Pitch mode Transpose Use this drop down list to select musical transposition amounts The corresponding numerical values are entered into the stretch sliders automatically For example to transpose your sound up one semi tone one half step on a keyboard choose 1 for one sharp Precision Three options for precision overall faithfulness to the sound s quality are provided Low Precision Medium Precision and High Precision When preserving pitch or tempo the degree of precision that an audio file should be processed with is often balanced against the time that it takes to process that file As you might expect the tradeoff to having a precision factor that s set too high is that it uses up a great deal of processing power and thus time 8 bit or low quality audio files can be processed in a short amount of time using the Low Precision setting whereas a profes sionally recorded audio file may require stretching using the High Precision algorithm This will take longer but the results can be worth it A quick way to determine the quality factor to use is to process a small portion at the lowest setting and the move u
9. FFT Size Specify a transform size In general sizes from 3000 to 6000 work best e Lower FFT sizes 2048 and below will have better time response less swooshing before cymbal hits for example but poorer frequency resolution making things sound hollow or flanged e Higher FFT sizes 12000 and above may cause swooshing effects reverb and long drawn out background tones but be very accurate in the frequencies processed Precision Factor This value determines the accuracy of hiss reduction in the time domain and affects how quickly spectral components below the previous hiss level decay See Spectral Decay Rate Usual settings range from 7 to 14 Larger values generally produce better results but at slower processing speeds Values higher than 20 or so will not ordinarily improve quality any further e With lower precision factors you may get a few milliseconds of hiss before and after the louder parts of audio with higher values this is reduced Transition Width This setting measured in dB produces a slow transition in hiss reduction instead of dropping off suddenly from no reduction to the reduced hiss level Values of 5 to 10 usually achieve good results 170 CHAPTER 8 Effects Menu Edit View e Ifthe Transition Width value is too small other background artifacts may be heard such as little tinkles in the background e Ifthe Transition Width value is set too high some hiss may remain after processing Spectral
10. Multitrack SMPTE Lead Time to prepare wave driver 200 ms Stopping Time freewheel audio stops after no input T000 ms detected for this time Lag Time constant time difference between sound fo card driver s reported position and actual samples Slack time error allowable before repositioning play 4 frames cursor Clock Drift Correction Time crossfade length to use when adjusting playback position 200 samplet Reposition playback cursor when shuttling Fullre syne when shuttling The SMPTE tab of the Settings dialog Lead Time This sets is the amount of time measured in milliseconds that Adobe Audition has to establish sync with the incoming time code Lower settings 200ms will result in faster response when pressing Play but at the risk of true sync not being established 500ms to 1000ms should provide plenty of Lead Time to establish lock up The default value is 200ms Stopping Time Stopping Time is the amount of time measured in milliseconds Adobe Audition will continue playing if a dropout in the time code is encountered The default value is 1000ms LagTime This setting measured in samples fine tunes the relationship between time code coming in and audio data coming out It can be used to make up for any discrepancies introduced by your sound card buffers The default value is 10 samples Slack This sets the number of frames CEP can periodically be out of sync with the time code before eit
11. ambient environments as a coat closet a tiled bathroom shower a concert hall or a grand amphitheater These echoes can be spaced so closely together and made to occur at such random times that the signal s reverberated trail will decay smoothly over time and will have a warm and natural sound Alternatively initial early reflection delays can be used to give a sense of room size which can be either large or small depending upon the initial delay times So what s the difference between Adobe Audition s Reverb and Full Reverb effects Full Reverb is the newer of the two and provides more options and better audio rendering However many folks still use and prefer the older Adobe Audition Reverb effect so we re happy to continue including it with new releases CHAPTER 8 Effects Menu Edit View To simulate specific rooms that have both echoes and reverb use Adobe Audition s Echo effect first to get the size of the room sound and then use Reverb to make it sound more natural This function can create a sense of spaciousness in a monophonic signal one that has been recorded as or converted into a stereo audio file Even a Total Reverb Length as little as 300 milliseconds can open up the perceived spaciousness of a dry sound one that was recorded without any effects or reverb Total Reverb Length This is the time in milliseconds that it takes for the reverb signal to trail off to infinity about 96dB
12. e Use values below 400 to create a small room environment e Use values between 400 and 800 to simulate medium sized rooms e Use values above 800 to simulate concert halls For instance setting Total Reverb Length to 3000 milliseconds will give you the reverb trails of giant amphitheaters Attack Time The amount of time it takes for the reverb to gain full strength is known as the attack time For short reverb times the attack time should be smaller In general a value of about 10 of the total reverb time works well However you can create interesting and subtle effects by using longer attack times with shorter reverb lengths or conversely by combining very short attack times with long reverb lengths High Frequency Absorption Time In acoustic environments higher frequencies tend to attenuate faster than lower frequencies Use this slider to simulate this natural absorption so that the high frequencies are reduced in level during the reverb s decay time e Faster absorption times simulate rooms that are occupied and have furniture and carpeting like night clubs or theaters e Slower times especially over 1000 milliseconds simulate rooms that are emptier like gymnasiums or auditoriums where higher frequency reflections are more prevalent Perception This parameter gives subtle qualities to the environment by enabling you to change the characteristics of the reflections that occur within a room e With lower values the re
13. s tempo Lock position to tempo Checking this box locks the left edge of the block to the bar beat So if you change tempo the block is moved so that it starts at the same beat Normally if you re stretching to tempo you ll always want to lock position to tempo But you may have a one shot type wave that s not a loop like a thunder clap or a gong and want it to start in time with other music that s aligned to the session s tempo Source Waveform Information Choose among these options Number of Beats Enter the waveform s number of beats in this field When you do so the BPM Beats Per Minute is automatically calculated and entered into the Tempo box below Tempo is the number of beats per minute in the waveform When you fill in the Number of Beats field above the Tempo value is automatically calculated Key Use this dropdown menu to enter the waveform s key If you specify a key for a waveform all instances of that waveform will be pitch shifted to match the multitrack session s key as specified in View gt Session Information Tempo Matching determines how if at all the loop will stretch to match the session s tempo Four options are offered Fixed Length If this option is chosen the file won t be stretched to match tempo e Time Scale Stretch Select this option to stretch the file just like Adobe Audition s Stretch effect to match the tempo of the session Options are provided for Quality High Mediu
14. Constant Amplification Tab Move the slider s for the amount of volume change you wish to apply to the selection Any figure over an amplification value of 100 or 0dB makes the selection louder a figure below 100 or 0dB reduces the volume Amplify dialog Fade tab ADOBE AUDITION User Guide Initial Amplification Fade Tab Move the slider s for the amount of volume change you wish to apply to the beginning of the selection Any figure over an amplification value of 100 or 0dB makes the selection louder a figure below 100 or OdB reduces the volume To achieve a fading in effect choose an Initial Amplification value that s lower than that of the Final Amplification value Final Amplification Fade Tab Move the slider s for the amount of volume change you wish to apply to the end of a selection Any figure over an amplification value of 100 or 0dB makes the selection louder a figure below 100 or OdB reduces the volume To achieve a fading out effect choose a Final Amplification value that s lower than that of the Initial Amplification value Linear Fades Fade Tab Select this radio button if you want the waveform s sample values to be faded in an even linear fashion which will produce a smooth slope from beginning to end Logarithmic Fades Fade Tab This option tells Adobe Audition to use a logarithmic style fade also known as a power fade This fades the amplitude of a signal at a constant rate p
15. Effects Rack Wet Dry Fields These fields show the percentage of bus effects that are active on this track A Wet value of 100 means that 100 of the effect has been added and none of the original audio remains A Dry Value of 100 means that just the original audio with no effects can be heard To change the Wet or Dry values select the desired field hold down your left mouse button and drag Dragging to the right increases the value while dragging to the left reduces it FX No FX Buttons Ifa track doesn t yet have an effect assigned to it regardless of what effects may be assigned if the track is part of a bus pressing the No FX button brings up the Effects Rack for that track Track 1 Effects Rack xz xj Friendly Name F 1 Presets zi New Delete Installed Real Time Effects Stereo Field Rotate Stereo Field Rotate Move Up Delay Effects Dynamic EQ Chorus lt Remove Flanger Delay Dynamic Delay Echo Echo Chamber Flanger Full Reverb Multitap Delay Reverb Apply Sweeping Phaser gt A typical Effects Rack window Current Effects Rack honi Should an effect already be assigned to a track clicking on the FX button shows the effects properties dialog Lock Button If the Lock button is in a disabled grayed out state it s because there are no effects on that track If the Lock button is up but not lit the track isn t locked If the Lock button is down and lit th
16. Real Time Preview 8 Real Time effects about 269 assigning tracks to 270 Rebuild Wave Display Now 222 Recent Folders 46 52 274 276 278 Record 23 293 Record Enable Button 244 Recording in Edit View 41 in Multitrack View 242 Recording Buffers 225 Recording Devices command 253 Recording Devices tab 234 Recording Length 207 Refresh Effects List 187 Refresh Now 314 Remove Blocks 312 Repeat Last Command 62 Resample 54 Reset button 71 Resolution 45 75 76 Restore Defaults button 352 Resynthesis Window 323 Reverb 139 Reverb full 130 Reverse 97 Revert to Saved 51 Rewind button 23 RMS Settings 201 Ruler Horizontal 40 249 Ruler Track Display 249 Ruler Vertical 40 Run Normalize button 73 Run Script 210 S SAM 29 Sample Accurate Sync 327 Sample Rate 45 74 76 273 Sample Rate convert 277 Sample Values 88 Sampler tab 94 Samples 86 198 SampleVision 34 Save 52 Save All 53 279 Save As 52 Save as type 52 Save copies of all associated files 276 Save extra non audio information 53 278 Save Mixdown As 277 Save Mixdown To Video As 279 Save Multitrack Session As 276 Save Selection 53 Save Session 275 Save Session As 276 Save Waveform As 52 Sawtooth 194 SBC Read 50 Scan for Silence Now button 66 Scientific Filters 158 Script tab 205 Scripts 209 Sec Tone field 91 Secondary Temp 217 Sel View Controls 26 show 85 294 Select All Blocks 312 Select All Blocks in Track N 312 Selec
17. Release Time 200 ms Close Help 1 Choose Files 2 Analyze Loudness 3 Normalize The Normalize Tab of the Group Waveform Normalization Dialog Normalization You can normalize to an average level or to a specific level e Normalize to Average Level of Source Files normalizes each file using the average level of all of them e Normalize to a Level of lets you specify the normalization level entered in decibels for the whole batch of waveforms Note Unlike Effects gt Amplitude gt Normalize percentages aren t used with the Group Waveform Normalization function because it s not peak based but RMS based The peaks may not go above 25 or may go over 150 and be the same loudness Use Equal Loudness Contour Check this box to have Adobe Audition use an equal loudness contour where the middle frequencies are most important You d normally want to have this box checked Since the ear is less sensitive to very high and very low frequencies and much more sensitive to those frequencies between 2 kHz and 4 kHz two different pieces of audio with the same RMS amplitude but that contain different frequencies will sound like they have differing volumes Checking the Equal Loudness Contour box will ensure that the audio has the same perceived loudness regardless of what frequencies are actually present in the sound file ADOBE AUDITION 73 User Guide Out of Band Peaks These settings determine how Adobe Audition handles out of ba
18. Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Stretch The Stretch effect changes the pitch frequency and or tempo duration of the audio signal It can also change either pitch or tempo without affecting the other For example you can use Stretch to transpose a song to a higher key or to slow a passage down without changing the pitch Pitch and tempo may also be varied over the length of the audio giving the effect of slowing down and speeding up or raising and lowering pitch lt lt Screenshot TP Stretch bmp File not found gt gt Stretch dialog Constant Stretch Gliding Stretch Tabs To perform a constant stretch no variation in the amount of stretch on the entire selection select the Constant Stretch tab To vary the stretch from one level to another choose the Gliding Stretch tab With Gliding Stretch you can choose the initial stretching percent less than 100 will compress the wave and the final stretching percent Specifying separate values for start and end stretches the waveform in a linear fashion from one ratio to another Initial Final Sliders Adjust the desired slider to set the amount of stretch to be applied to the waveform If you re using Gliding Stretch sliders for both initial and final settings will be available Changes in the sliders are reflected in each of the Ratio and Length boxes 185
19. The new file automatically inherits the properties sample rate sample frequency etc from the original clipboard material ADOBE AUDITION User Guide Mix Paste Use Mix Paste to mix any audio data from the active clipboard with the currently shown waveform You might think of it as a quick and dirty alternative to Adobe Audition s more powerful and flexible multitrack functions ZZ 8 8 8 6 Volume Ta r um Ra r Ho r IV Lock Left Right C Insert From Clipboard Overlap Mix C Fron ws Clipboard C i esi OK Replace FromEile Select File Modulate Cancel J Crossfade 50 ms J Loop Paste E times Help Mix Paste Dialog Clipboard data is inserted or overlapped beginning at the current insertion point or selection Should the format of the waveform data on the clipboard differ from the format of the file its being pasted into Adobe Audition automatically converts it before pasting The major components of the Mix Paste window are as follows Volume Move the volume sliders to adjust the sound level of the left and right channels of the audio in the clipboard before pasting Or you can type in a value represented in percentage in the fields to the right of the volume sliders Paste in single channels either left or right by adjusting the level of the opposite channel to zero Invert Check the desired Invert box to physically turn that channel of the waveform upside dow
20. The text entered in the name field will be used as a common prefix for saving each exported file or files Once the name text is entered into the name filed you can then select the desired Export format and in the lower Filenames to be saved the full filename s will be listed to show you how the Exported file s will actually be saved For example if the text BossaNovaBed were entered in the name field the following would be how the files would actually then be named for each Export format e For the 6 Mono Wav Export option six files will automatically be rendered and saved with these names e 1 BossaNovaBed _FL wav Front Left channel file e 2 BossaNovaBed _FR wav Front Right channel file e 3 BossaNovaBed _C wav Center channel file e 4 BossaNovaBed _LFE LFE channel file ADOBE AUDITION 341 User Guide e 5 BossaNovaBed _Ls wav Left surround channel file e 6 BossaNovaBed _Rs wav Right surround channel file e For the Interleaved 6 channel Wave Export format one file will be rendered and saved as BossaNovaBed wav e For the WMA 6 channel Export format the file will be encoded in the WMA format and saved as BossaNovaBed wma Save In This field lists the currently designated directory where the Export files are to be saved To select a different directory you can either type in an existing directory path or click on the button to the right of this field and browse
21. This field is used to store the name s of the engineer s who worked on the file or edited the file Please separate names by a semicolon and a space When someone new edits the file they can add their name to the list Digitizer Who did the actual digitizing They should put their name right here Source Supplier In this field enter the name of the person or organization that supplied the original source material You can use this space for the names of record companies or whoever supplied you with the source Examples include Epic Records or if recorded live the name of the artist such as Ann Wilson Copyright Any copyright information for this file should go here Example c 2001 G Willikers Corporation All rights reserved Software Package The name of the software used to digitize and edit this file such as Adobe Audition goes here Creation Date This field should contain the date that the subject matter was created The date should be in the format yyyy mm_ dd year month day using 0 as a place holder in single digit values For example if the date the original recording was made was June 8 2001 then it needs to be written as 2001 06 08 Fill Fields Automatically If the Fill Fields Automatically box is checked the Software Package and Creation Date fields are automatically filled by Adobe Audition If you don t want this extra information to be tagged with your wave files simply un check this box Comme
22. but if the setting is placed any lower then the filter may remove sounds that are not actually clicks The more clicks that are detected the more repair processing there is which increases the possibility of distortion With too much distortion of this type the audio begins to sound flat and lifeless If this happens try setting the detection threshold rather low and clicking the Second Level Verification box which will re analyze the detected clicks and throw out that is leave unfiltered the ones that are less likely to be clicks If you still hear clicks after filtering your audio try lowering the detection threshold but if this distorts the audio too Q much try either increasing the threshold or enabling Second Level Verification Reject If the Second Level Verification box is checked this value which can be from 1 to 100 determines how many potential clicks found using the Detection Threshold are rejected As with detection lower settings result in more clicks being repaired Increasing the rejection threshold will prevent more clicks from being repaired as they may not be actual valid clicks The idea is to reject as many detected clicks as possible but still remove all audible clicks A good starting value for this setting is 30 If a trumpet like horn sound has clicks in it and the clicks are not being removed try lowering this value to reject fewer potential clicks If a particular sound or instrument is fuzzing out
23. fft file This file will contain information on sample type FFT Fast Fourier Transform size and three sets of FFT coefficients one for the lowest amount of noise found one for the highest amount and one for the power average Get Profile from Selection Press this button to extract a noise profile from the highlighted selection Try to select a portion of the waveform that has no important signal in it i e it only has background noise and then press Get Profile from Selection Adobe Audition will gather the statistical information about the background noise after which you can remove all noise of this type from your waveform Note If the selection used for gathering the noise level is too small then the Get Profile from Selection button won t be enabled Reduce the FFT Size or select a larger section of noise to sample If you can t find a longer noise section use Copy and Paste to create one Highlight and copy the short noise sample Then paste this new instance at the end of original highlighted sample Repeat this process until the sample has been extended long enough for the Get Profile from Selection button to be enabled You can then perform as many Undos as necessary to remove the extra samples you ve pasted Snapshots in profile The number in this field describes how many snapshots of noise to take in the highlighted interval when the Get Profile from Selection button is pressed The larger this number the more accurate t
24. mu Law mu Law or CCITT standard G 711 is an audio compression scheme and international standard in telephony applications mu Law is very similar to A Law a variation of mu Law found in European systems This encoding format compresses original 16 bit audio down to 8 bits for a 2 1 compression ratio with a dynamic range of about 13 bits Thus mu Law encoded waveforms have a higher s n ratio than 8 bit PCM but at the price of a bit more distortion than the original 16 bit audio The quality is higher than you would get with 4 bit ADPCM formats Encoding and decoding is rather fast and generally widely supported Noise Gate A Noise Gate is a special type of expander that can be used to reduce or eliminate noise below a threshold level It does this by heavily attenuating signals with levels that fall below the threshold A noise gate is often used to totally cut off the signal level during a musical pause so as not to pass background noise It can also be used to silence the pauses in speech Noise Shaping This technique is used to shift the frequency of dithering noise to minimize its audibility in the wave file Nondestructive Editing Nondestructive edits and changes are those which don t alter the sound file on disk in any way For example in nondestructive editing a volume change would not actually alter the amplitude of the waveform but would be an instruction to get louder at this point which is then acted out upon playback The Ado
25. s being pasted into Adobe Audition automatically converts it before pasting ADOBE AUDITION 43 User Guide Mix Paste Use Mix Paste to mix any audio data from the active clipboard with the currently shown waveform You might think of it as a quick and dirty alternative to Adobe Audition s more powerful and flexible multitrack functions Clipboard data is inserted or overlapped beginning at the current insertion point or selection Should the format of the waveform data on the clipboard differ from the format of the file it s being pasted into Adobe Audition automatically converts it before pasting Trim Trim is used to get rid of unwanted audio like silence on one or both sides of the selected audio Everything in the waveform is removed except for the highlighted selection Note The deleted portion s aren t copied to the clipboard and can only be retrieved using the Edit gt Undo command or by File gt Revert to Saved if you haven t saved the file since trimming Silence This function silences out the selected range of the waveform Unlike deleting or cutting a selection which splices the surrounding material together Silence leaves the duration of the selection intact and simply zeroes the amplitude within it Note You must select part or all of your waveform first in order for Silence to work Add to Cue List This command adds the current cursor position to Adobe Audition s Cue List Wave Properties Acces
26. which will cause less noticeable distortion in either channel when heard independently Spline Curves Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use spline curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points 102 CHAPTER 8 Effects Menu Edit View Flat Pressing the Flat button will reset the graph to its default state removing all control points Low High Settings There are two sets of settings for control of binaural frequencies Low Settings all correspond to the lower part of the graph points dragged near the bottom and High Settings affect the top e Frequency This is the binaural frequency that will be encoded into the final process For special spatial panning effects choose wave frequencies of 1Hz or less A mono source left and right the same will 2 appear to move from left to right and back at period of 1 frequency For example a frequency of 0 1Hz will pan the audio in a full circle over the period of 10 seconds e Int
27. x axis horizontal ruler plots the side channel right left 2 while the y axis vertical ruler plots the mid channel right left 2 Samples This drop down list allows you to select from several sample sizes Higher sample sizes give you more accurate results but require much more processing power to be effective Choose the sample size that produces the best performance for your system ADOBE AUDITION 199 User Guide Statistics The Waveform Statistics dialog displays a wealth of information about the active waveform It consists of two tabbed areas General and Histogram plus a section for RMS settings Details about each channel of a stereo waveform are clearly shown Waveform Statistics E xi 4 Histogram Left Right Minimum Sample Value pra gt prai Maximum Sample Value pna pnas Peak Amplitude 448 gt pme gt Possibly CippedSamples 0 DC Offset 001 Minimum RMS Power ase gt z gt Maximum RMS Power fasa gt fase gt Average RMS Power figg7qB jso Total RMS Power 185348 izeta Actual Bit Depth 6 q Copy Data to Clipboard RMS Settings C OdB FS Sine Wave Window Width jso ms OdB FS Square Wave IV Account for DC Recalculate RMS Help ai Waveform Statistics dialog General tab 200 CHAPTER 10 Analyze Menu Edit View Waveform Statistics x General Histogram Lett TC Right RMS Sett
28. you get a new envelope that determines the delay Frequency Tab The graph control in the Frequency window is used to set the EQ frequency The x axis horizontal ruler represents the length of the selection while the y axis vertical ruler represents the frequency that s boosted or cut GainTab Use the graph control in the Gain window to adjust the amount of amplitude or attenuation the Dynamic EQ effect uses The x axis horizontal ruler represents the length of the selection while the y axis vertical ruler represents the dB level that s boosted or cut ADOBE AUDITION 145 User Guide Q Bandwidth Tab The Q bandwidth window s graph is used to adjust the amount of Q used by the Dynamic EQ effect The x axis horizontal ruler represents the length of the selection while the y axis vertical ruler represents the frequency that s boosted or cut Spline Curves Check this box which appears in each of the Gain Frequency and Q bandwidth tabbed windows to generate a smoother best fit curve instead of a straight line between control points on the graph When you use spline curves the line won t ordinarily travel directly through the control points Instead the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline C
29. 1 Bin way C Sounds SFX Cymbal Finger way Remove All il I Hide Path 1 Files 3 New Format 4 Destination The Files Screen of the Batch File Convert Dialog ix Press the Remove button to delete highlighted files from the list or click on the Remove All button to delete all files from the list Check the Hide Path box if you don t want to see the full path of each file If yowre converting Raw PCM files press the Open Raw PCM As button to pick the desired Sample Rate Channels Resolution and other properties 2 Resample Check the Convert Sample Type box if you wish to change each waveform s sample properties to a common set of values This enables the Change Destination Format button If the box is unchecked the destination sample format is the same as the source and the Change Destination Format button is disabled ADOBE AUDITION 55 User Guide Batch File Convert The Resample Screen of the Batch File Convert Dialog Pressing the Change Destination Format button brings up Adobe Audition s Convert Sample Type window where you can select the destination files sample properties 3 New Format Here s where you choose the format of the destination files Use the Output Format drop down control to pick the desired format from all of Adobe Audition s supported file types 56 CHAPTER 5 File Menu Edit View Batch File Convert x Step 3 Choose new file
30. 5 Left Surround rear speaker Ls e Out 6 Right Surround rear speaker Rs Note that the above channel order is also the order in which your Exported 6 channel wav and 6 channel wma files will be created If your project requirements include a different channel order such as if you are submitting a master for use in a DTS encoded project or other surround format then you should choose the Export to 6 mono wav files option Preview Format Selector Use this drop down menu to select the bit rate of the preview playback material that is sent to your sound card This can be kept at 16 bit but if your session includes higher bit rate files and if your sound card supports higher bit rate playback you can select one of the 24 or 32 bit rates here to allow the preview to more accurately play back the higher bit rate content of your session Preview Buffer Size Slider This slider is offered to allow adjustment of the size of the buffers used for both the Play Track and Play All functions The slider can be adjusted to the right to create larger buffer sizes which can allow for a more stable preview playback at the cost of raising the latency A higher latency means that it will take longer for you to hear the result of changes made to any sliders or panning adjustments made while previewing Adjusting this slider farther left will reduce the buffer size that can result in lower latency but at the cost of less preview stability If dropou
31. 64 bit Doubles See DBL 8 bit Signed See SAM ACM The Microsoft ACM Audio Compression Manager is part of all 32 bit versions of Windows The ACM enables many Windows audio programs to compress and decompress files in a variety of formats such as DSP Group TrueSpeech and GSM 6 10 Some of these formats come as a standard part of Windows while others are provided by third parties ACM formats are sometimes acquired when you install other software ADPCM ADPCM Adaptive Differential Pulse Code Modulation is an audio compression scheme which compresses sound files from 16 bits to 4 bits yielding a 4 1 compression ratio There are many varieties of ADPCM such as the IMA Interactive Multimedia Association DVI standard and versions from Microsoft Dialogic etc A Law A Law or CCITT standard G 711 is an audio compression scheme common in telephony applications It is a slight variation of the u Law compression format and is found in European systems This encoding format compresses original 16 bit audio down to 8 bits for a 2 1 compression ratio with a dynamic range of about 13 bits Thus A law encoded waveforms have a higher s n ratio than 8 bit PCM but at the price of a bit more distortion than the original 16 bit audio The quality is higher than you would get with 4 bit ADPCM formats Encoding and decoding are rather fast and generally widely supported Adapter A passive cable plug or jack that enables you to connect two audio or video
32. A value of 50 will mix the two evenly Invert If this box is checked the positive values of the selected waveform become negative This means that cancellation will occur when you mix the inverted and original waveform Inverting the delayed signal can be used for special effects such as creating a quick and dirty comb filter Presets Adobe Audition provides several Delay presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Delay setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Check the Bypass box to hear the waveform without any applied Delay effects for a quick before and after comparison Make sure there is enough silence at the end of the waveform for the delay trails to complete If the delay abruptly cuts off before it fully decays undo the Delay effect add several seconds of silence using Adobe Audition s Generate gt Silence command and rerun the Delay effect Dynamic Delay Dynamic Delay allows you to change the amount of delay over the length of the waveform For instance for the first five seconds of an audio file you can have a 2 millisecond delay for the next 15 seconds you could have a 20 millisecond delay f
33. As 16 bit PCM LSB MSB saves data formatted as an uncompressed 16 bit PCM file with the Least Significant Bit first and the Most Significant Bit last With this option you ll be able to offset the input data by 1 byte if desired The input data of 32 bit files may be offset by 2 or 3 bytes as well Data Formatted As 16 bit PCM MSB LSB saves as an uncompressed 16 bit PCM file with the Most Significant Bit first and the Least Significant Bit last With this option you ll be able to offset the input data by 1 byte if desired 32 bit files can have input data offset by 2 or 3 bytes as well Data Formatted As 8 bit mu Law Compressed saves PCM data in 8 bit mu Law compressed format Data Formatted As 8 bit A Law Compressed saves data in 8 bit A Law compressed format Create DAT header on save writes a header to a separate dat file to make reloading the file easier 37 Chapter 4 Navigating the Edit View dit View is one of Adobe Audition s two major workspaces Multitrack View is the other Use Edit View to record play convert and edit single waveforms and lots more A wealth of effects are at your disposal from delay effects like echoes and reverbs to advanced functions such as noise reduction and dynamics processing Most of this chapter will concentrate on the largest portion of the Edit View the Wave Display The Wave Display is the area where waveforms are visualized and modified Note Interface components that are
34. Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played 138 CHAPTER 8 Effects Menu Edit View QuickVerb Like Adobe Audition s two other reverb effects Full Reverb and Reverb QuickVerb allows you to add reverberation to your audio in order to simulate a different acoustic space However since it isn t convolution based like Full Reverb and Reverb which require more power to run thus increasing the processing load on your system QuickVerb is faster to use This means it can be altered more quickly and effectively in Adobe Audition s Multitrack real time environment without the need for locking the effects to the track il g aus CET oe Presets Add Del _ Preview Classical Cathedral I Bypass Decay Concert Hall Light 4 gt 1972 Dark Hall g z l i DarkDrumPlate Echoey Diffusion Smooth DirtyPlate fi 5 Drum Echo Plate Ki a Ethereal High Cutoff Freq Large Empty Hall Large 0 d Hall KI lel eooo ne EE Low Cutoff Freq Live Reflection Chamber Kim gt o H E Pre Delay Rock Room Mising Shower Original Signal dry aow otak Varb lm jp z Tight and Close Revab Vocal Natural Reverb Reverb wet Vocal Nice Presence a fig Vocal Chamber Vocal Stage Warm The QuickVerb dialog Here are the major components of the QuickVerb dialog Room Size Use this slider to se
35. Audition to disregard this material when playing back You may return any Cut waveform to its original state at any time by selecting it and choosing Edit gt Full Full This option returns any selected waveform block that has been modified with the Adjust Boundaries Trim or Cut commands to its original full state Any material removed using Adjust Boundaries Trim or Cut while in Multitrack View will be replaced Note Selecting Full for a waveform block when its segments have been moved will return any missing material at that location so this may result in having more than one instance of the same waveform block portion throughout a session Remove Block This command removes the selected highlighted block from a multitrack session Removed waveforms will still be available in Adobe Audition s Edit View They re also available to the session via Insert gt File Cue List until the audio files are closed from the File menu Destroy Block remove amp close This will remove the selected waveform from the multitrack session and close the waveform Use the Shift Backspace hotkey to quickly destroy a block To destroy the waveform without being prompted to save use Ctrl Shift Backspace ADOBE AUDITION User Guide Envelopes Use this command s submenu options to clear the Volume Pan or FX Mix envelopes from the highlighted portion of a selected block as well as uses spline curved envelopes instead of Adobe Audition
36. B button The EQ Presets dialog is a go away dialog that disappears if you click outside it e Max View When you press this control which looks like a small arrow pointing upward you switch to Max View All of the tabs disappear and the controls for the selected track expand to fill the Track Equalizers window To return to the Track Tabs view press the Restore control the small arrow pointing downward e Expand Collapse Use the Expand and Collapse arrows which point to either the right or the left to show or hide the equalization frequency and amplitude faders and their associated text entry boxes as well as the Band buttons e Graph The graph shows the track s current equalization curve The graph s x axis horizontal ruler measures frequency while the y axis vertical ruler represents amplitude You can drag the three control points which look like balls around the graph to adjust the EQ curve If the Track EQ window is in expanded view you ll notice that the two sets of sliders move accordingly when the graph s control points are manipulated The left most control point initially represents the EQ curve s low frequency while the middle and right most control points correspond to the EQ curves middle and high frequencies respectively e Q Values The low middle and high frequency Q values of the equalization curve are displayed in these boxes Q is the sharpness of the equalization circuit s peak respons
37. Blackman gt IV Show Cue and Range Lines Rancher Blackmann V Show Grid Lines sien 22 Bands V Show Center Lines Window Width 100 V Show Boundary Lines Display Lines at 1 dB Plot Style Peak Fie Logarithmic Energy Plot costes Range BEE dB Peaks Cache 256 Block C Linear Energy Plot IV Save Peak Cache Files OK OK Scaling 08 x Rebuild Wave Display Now Cancel Help The Display Tab of the Settings Dialog ADOBE AUDITION User Guide Spectral Display Choose an option e Windowing Function This drop down list lets you choose the method Adobe Audition uses to window the spectral data before it displays it The windows are listed in order from the narrowest frequency band most noise to the widest frequency band least noise Blackmann or Blackmann Harris are good choices e Resolution This setting specifies the number of vertical bands to be used in drawing frequencies Keep in mind that the larger this number is the longer it will take for Adobe Audition to render the spectral display Performance will vary based upon the speed of your computer e Window Width This is the width of the window or frame size used in plotting the spectral data where 100 is a frame size of your FFT size Window Width basically lets you increase time resolution at the expense of some frequency resolution So the display will become more accurate along the timeline left and right and less accurate along th
38. Cut log If this option is chosen left panning is achieved by reducing the volume of the right channel and right panning is performed by reducing the left channel volume The channel being panned to doesn t increase in volume as panning gets closer to 100 e Equal power Sine Choose this option to pan left and right channels with equal power so a hard pan left will contain the same loudness as both channels together This results in an increase of 3dB RMS on the channel being panned to when at 100 ADOBE AUDITION 227 User Guide Note Because panning can actually make one channel louder than the original waveform audible clipping can occur in 16 bit sessions To avoid this work in the 32 bit realm if you re using the Equal power Sine panning method Auto Zero Cross Edits Check the Auto Zero Cross Edits box to have Adobe Audition automatically adjust the beginning and end points of all Cut Copy and Paste type edits to the nearest place where the waveform crosses the center line zero amplitude point If the amplitudes aren t lined up on both sides of the selection the endpoints are at different amplitudes This often results in an audible pop or click at that point Smooth auto scrolling during playback By default Adobe Audition uses a paging method of scrolling in Multitrack View instead of the smooth scrolling technique used in Edit View This saves on system resources If youd rather use smooth scrolling when playing bac
39. Decay Rate When audio above the noise floor is encountered more audio in the same frequency band is assumed to follow With low Spectral Decay Rates measured in percent less audio is assumed to follow and the carving function will cut more closely in time to the frequencies being kept Values of 40 to 75 work best e With Spectral Decay Rates too low background bubbly effects might be heard and music may start to sound artificial e With Spectral Decay Rates too high above 90 unnaturally long tails and reverbs might be added Reduce Hiss By When audio components are found below the given noise floor settings they are reduced up to this amount measured in dB e With lower reduction amounts below 6dB not as much noise is removed but the original audio signal stays relatively undisturbed e With higher levels especially above 20dB dramatic hiss reduction can be achieved but the remaining audio may start to be distorted Remove Hiss Keep Only Hiss For normal operation choose Remove Hiss If for some reason you want to extract the hiss only choose Keep Only Hiss All the audio will be removed leaving only hiss Presets Adobe Audition comes with several Hiss Reduction presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Hiss Reduction setting before you apply it to the waveform The selection is looped until you press the Stop
40. EQ Equalization is the process of increasing or decreasing the amplitude of audio signals at a specific frequency band relative to the signals at other audio frequencies Expander Expanders are used to expand the dynamic range of an audio signal They are basically the opposite of a compressor An expander can also be considered an amplifier with two gain levels the gain is unity for input signal levels above a certain threshold and less than unity for signals with levels below the threshold An expander boosts the high level signals and attenuates low level signals Fast Fourier Transform An algorithm based on Fourier Theory that Adobe Audition uses to perform its filtering functions as well as Spectral View and Frequency Analysis functions Flange An interesting audio effect caused by mixing an approximately even amount of a varying short delay with the original signal Adobe Audition s Flanger effect can be found in Effects gt Delay Effects Flushing The process Adobe Audition performs when it copies the audio data from a waveform file to Adobe Audition s temp folder so that the original file can be closed This allows the file to be renamed deleted or opened exclusively by another application Flushing sometimes occurs when a modified waveform is saved on top of its original file Fourier Theory Fourier Theory states that any waveform can be made up of an infinite sum of sin and cos functions By using Fourier Theory waveforms can
41. Edit View Filters Use filters to modify a signal s frequency content The effects in this menu can be used to alter an audio file or selected range s frequency content in many different ways Dynamic EQ Dynamic EQ allows you to change the amount of equalization over the length of the waveform For instance the first part of an audio file can have a certain EQ profile a mix of certain frequencies boosted or cut as well as gain and bandwidth adjustments while the middle and final portions of the audio file can have a completely different EQ profile The Dynamic EQ dialog provides three tabbed areas for adjusting Gain Frequency and Q bandwidth Each area uses a graph control for adjusting parameters Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Dynamic EQ x Frequency Gain O bandwidth Presets _Add Del 10k gt 100hz highpass High Mid Subsonic gt DogR ange SweepTheQ 1800hz Swept From 100hz 10k Low Spline Curves ae r Filter Type 7 mi p Graph OK Low Pass T J Bypass Cox BandPass Stop Band 30 dB Preview Close High Pass 3 Help Cancel Dynamic EQ dialog Dynamic EQ is especially cool when used as a real time effect in the Multitrack View If you add Dynamic EQ or Dynamic Delay which has a similar principle to the Multitrack View
42. Gain Processor Set the following Output Gain the gain measured in dB applied to the output signal It s the last step performed on the audio Attack Time the attack time measured in milliseconds applied just before output Attack Time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume If there s suddenly a quiet portion that drops 30dB it will take the amount of time specified in this field before the output actually drops to its corresponding volume level If the sum of the Attack and Release times is too short less than 20 milliseconds total audible effects such as a vibrating sound can be heard at around 1000 Hz ms total For example if the Attack and Release times are each set to 5 milliseconds making 10 milliseconds total then a vibrating sound at 100Hz will be heard Thus a total value of about 30 milliseconds is about as low as you can go without introducing these effects Release Time the release time measured in milliseconds applied just before output Release Time is the time it takes the end of a previous output level to reach the specified output volume For example where the Attack is the time it takes for the start of a pulse to reach the desired output volume the Release is the time it takes for the end of the pulse to reach the desired level Joint Channels With stereo audio files each channel can be compressed independently sometimes
43. Generate Noise dialog Adobe Audition inserts noise from the current playbar cursor position pushing any following audio back in time and thereby lengthening the duration of the waveform Selecting an area and generating noise replaces the selection deleting existing audio Use noise as the basis for creating weird sound effects for creating soothing sounds like waterfalls perfect for use with Adobe Audition s Binaural Auto Panner function or for generating signals that can be used to check out the frequency response of a speaker microphone or other audio system component Color Adobe Audition has the following noise options e Brown noise has a spectral frequency of 1 f 2 This means in layman s terms that there s much more low end and there are many more low frequency components to the noise This results in thunder and waterfall like sounds Brown noise is so called because when viewed the wave follows a Brownian motion curve That is the next sample in the waveform is equal to the previous sample plus a small random amount When graphed this waveform looks like a mountain range e Pink noise has a spectral frequency of 1 f and is found mostly in nature It is the most natural sounding of the noises By equalizing the sounds you can generate rainfall waterfalls wind rushing river and other natural sounds Pink noise is exactly between brown and white noise which is why some people used to call it tan noise but pink wa
44. I Auto Play I Don t ask for further details He Rie Open a Waveform Dialog Here are the components of the Open a Waveform dialog Recent Folders This shows the folders you ve most recently opened with Adobe Audition Select a folder name from the drop down box to quickly navigate to it ADOBE AUDITION 47 User Guide Lookin Use this control to navigate through all available drives and folders File Name Here s where you may specify the name of the file you desire to open if it resides in the current folder Entering extension such as wav or mp3 displays all files with that extension in the open folder Files of type Use this control to filter the display of files in the current folder to a specific type of supported waveform such as Windows PCM wav or Next Sun au snd As youd expect selecting the All files listing displays all files in the current folder Don t ask for further details If you check this box you won t be prompted for more information about the waveform format after you choose a file to open For instance if you double click on a raw headerless PCM file Adobe Audition won t ask you for the sample rate bit resolution A law mu law compression or any other details Instead the program uses the last settings specified when you opened a headerless file Show File Information With this box checked Adobe Audition displays useful details about the selected waveform such as format
45. Low Cutoff This is the lowest frequency that dynamics processing will affect You can define a band or range to which compression or expansion is applied within the current frequency range The Low Cutoff point is the bottom boundary in defining this band For example with values of 1000 for Low Cutoff and 5000 for High Cutoff dynamics processing only affects audio in the frequency range of 1kHz to 5kHz To use the entire frequency range of the source material leave this setting at 0 High Cutoff This is the highest frequency that dynamics processing will affect You can define a band or range to which compression or expansion is applied within the current frequency range The High Cutoff point is the bottom boundary in defining this band For example with values of 2000 for Low Cutoff and 9000 for High Cutoff dynamics processing only affects audio in the frequency range of 2kHz to 9kHz To use the entire frequency range of the source material this setting should be a one half of the current sample rate 24000 for 48kHz 11025 for 22kHz etc Lookahead Time Lookahead Time is used to handle sharp spikes that might occur at the onset of a louder signal At times and for brief instances these onsets can go beyond the limits of your compressor settings which may be desirable in certain compression scenarios since it can enhance the impact of say a drum hit However this is obviously not desirable if you re using limiting in order to reduce th
46. Note Unlike Cut in the Edit Waveform View this Cut command does not remove any data from the actual sound file and places nothing on the clipboard Using Cut in Multitrack View simply tells Adobe Audition to disregard this material when playing back You may return any Cut block to its original state at any time by selecting it and choosing Edit gt Full Full This option returns any selected block to its original state Any material removed using Trim or Cut while in Multitrack View will be replaced Note Selecting Full for a block when its segments have been moved will return any missing material at that location so this may result in having more than one instance of the same block portion throughout a session Remove Blocks This command removes any selected highlighted blocks from a multitrack session Removed waveforms will still be available in Adobe Audition s Edit View They re also available to the session via Insert gt Existing File Cue until the audio files are closed from the File menu Destroy Blocks remove amp close This will remove the selected block s from the multitrack session and close the files Select All Blocks This command selects all blocks within the current session Selected blocks appear brighter in color than their non selected counterparts If you re using the default Adobe Audition color scheme record enabled blocks red will become bright red when selected while regular unmuted b
47. OdB represents no master gain adjustment Presets Adobe Audition comes with several Sweeping Phaser presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Sweeping Phaser setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played DirectX We d like to think that Adobe Audition has every audio effect any user will ever need but some folks like to augment Adobe Audition s processing power with DirectX sometimes called ActiveMovie audio plug ins from other software companies No problem Any DirectX audio plug in can be used from within Adobe Audition When correctly installed it will automatically appear in the Effects gt DirectX cascading menu Using a DirectX plug in works the same as any other Adobe Audition effect Most plug ins have a settings dialog where you can tweak the parameters of the effect before applying it to the selected region of the waveform Some plug ins may support real time preview or other particularities Youll need to consult the documentation provided by the plug in manufacturer for any help with its proprietary features that is anything found in the plug in s Properties area 143 144 CHAPTER 8 Effects Menu
48. Only disables the ability of a block to be recorded into so while the track it resides in may be record enabled have the red R button on the Track Console depressed the marked block will not be recorded over This is signified by the block not turning red when the track is record enabled Split The Split command functions similarly to a traditional tape splice it cuts the block segmenting it into parts The cut is performed at the current cursor point or selection in this case the selection will be spliced out Once a block has been split each segment can be moved deleted or slid in time independently of the other segments Splitting a block is non destructive as it does not alter the original file on disk Merge Rejoin Split Merge Rejoin Split will recombine a split segment of a block with the original surrounding material provided that the split segment sits at the same relative location as where it was split from and in the same track as the original segment s The boundaries of the segments are joined together using a 30 millisecond crossfade The Merge Rejoin Split command can also be used to rejoin a take created using Punch In to the rest of the waveform Note This merge operation is destructive in that it does alter your sound file For example when rejoining a Punch In segment the file is rewritten with the new material ADOBE AUDITION 311 User Guide Align Left The Align Left command which is only acce
49. Preference Order list It will then appear in the Unused Playback Devices list Move Up Pushing this button moves the selected item up in the Device Preference Order list Move Down Pressing this button moves the highlighted item down in the Device Preference Order list Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for playback in Adobe Audition s Edit View EV appears next to the device s name Just one playback device can be used in Edit View Properties A press of this button brings up the highlighted item s properties in Adobe Audition s Device Properties dialog 234 CHAPTER 12 Options Menu Edit View Recording Devices Tab Playback Devices Recording Devices MIDI Output Devices MIDI Input Devices Please choose which device will be used in Edit View and what devices you would like to use in Multitrack View The top Multitrack Device in the list will be Device 1 the second Device 2 and so on Unused Record Devices Multitrack Device Preference Order Tst SoundMAX Digital Audio Wave Mapper lt lt Remove if Use in EV EV This device is to be used in Edit View cea Help The Recording Devices tab of the Device Ordering Preference Dialog Unused Record Devices The items in this list are the record devices on your system not currently utilized by Adobe Audition Use gt gt Press this button to move a selected i
50. Select the appropriate time signature using this drop down list The current signature pattern is displayed in the non editable Pattern field Custom time signatures may be added using the Custom button Custom Press this button to bring up the Customize Metronome Time Signature dialog x Name Teds Timing Patem 12103 Beats Bar 3 for Regular Beat Help Add For pattern use 0 for No Beat 1 for Down Beat 2 for Secondary Beat Cancel The Custom Metronome Time Signature dialog e Name Enter the name of the new time signature in this field ADOBE AUDITION User Guide e Pattern Here s where you specify the pattern of the time signature Use a 0 for no beat a 1 for a down beat a 2 for a secondary beat and 3 for a regular beat Spaces between the numbers are optional e Beats Bar The number of beats per bar goes in this text box Press the Add button to place your new custom time signature to the Metronome s Signature list Pattern The current metronome pattern is shown in this non editable text box Notes Tab x General Mixing Tempo Metronome Notes Session recorded and mixed on January 5 2002 Bruce played acoustic guitar track 1 and bass track 2 Lorna s keyboards are on tracks 3 and 4 and her vocals are on tracks 6 7 and 8 Drums are on tracks 10 and 11 Full Reverb Small Club preset used on vocals only Hard Limiting used on bass track The Notes tab of t
51. Spacing This determines the spacing at which to place each duplicated waveform block e No gaps continuous looping This option places each subsequent duplicate directly after the preceding block for a continuous loop e Evenly Spaced Choose this option if you would like to define a spacing to place between each block The entry box to the right will display the spacing in the current Display Time Format This value defaults to the length of the selected waveform block which has the effect of functioning identically to the No gaps continuous spacing option until changed Entering a greater value will put space between each waveform block while a lesser value will cause them to overlap Setting the Display Time Format to Bars and Beats makes it easy to place a waveform such as a drum hit at every other beat in your song for example Because each instance other than the original is an Image you can place the instance throughout the entire song and only consume the drive space of the original occurrence Find your loop points in Adobe Audition s Edit View with Find Beats Snapping and Zero Crossings Using these functions you can make a selection highlight that starts and ends on zero crossings which make musical sense After doing so choose Edit gt Insert in Multitrack and switch back to the to the Multitrack View You can now select the loop s waveform block and choose Loop Duplicate to create your loop To create intere
52. Statistics 199 Status Bar 27 89 295 Stereo Chorus Mode 119 Stereo Expand 114 Stereo Field Rotate 114 Stereo Phasing 129 Stop button 22 Stopping Time 228 Stretch 185 Sub Channel Level slider 333 Surround Panner 331 SVX 30 Swap Byte Order 50 Swap Channels 50 Sweeping Phaser 141 Synchronize Blocks with Edit View 326 Synchronize Cursor Across Windows 208 System tab 216 T Take History 302 Takes enabling 260 merging 260 Temp Folder 217 Tempo 93 284 297 Tempo Envelopes show 283 Tempo Matching 259 Tempo Matching Stretch Method 93 Tempo tab 297 Tempo edit 87 Temporary Folders 217 Text Fields tab 89 Ticks per Beat 87 Ticks beat 297 Time Offset 262 303 Time Reference 94 Time Stretch preserves pitch 186 Time Window 26 Time Window show 85 294 Timed Record 207 Time Scale Stretch 93 259 Tip of the Day show 214 Tool tab 205 Toolbars 16 88 295 Total Available Space 58 Total RMS Power 201 Track Context Menu 249 Track Controls 243 Track cue 81 Track Display Ruler 249 Track EQ Window show 290 Track Equalization Fields 245 Track Equalizer 254 Track faders 289 Track Level slider 334 Track Name Field 244 Track Number field 92 Track Pan command 252 Track Pan Field 244 Track Properties 256 Track Properties show 291 Track Record 226 Track tabs 290 292 Track Volume command 251 Track Volume Field 244 Tracks Mixer 286 Transport Buttons 22 Transport Buttons show 85 29
53. This Track Only j Pang Reem PPr prm Volume If you have more than one device in your system that s capable of recording such as another sound card you can then select the device from which you ll be recording Press the track s Recording Device button which by default will say Rec 1 The Record Devices dialog may also be displayed by right clicking in the track anywhere there isn t a block and selecting the Recording Device item from the pop up menu Not only does the Record Devices dialog allow you to select what device will feed the input for the track it lets you decide if you want the track to record in stereo left channel only or right channel only plus specify if the track should be recorded in 16 bit or 32 bit modes Note You ll also want to make sure that the levels in your sound card s mixer are set correctly This includes enabling the correct input channel and making sure that the input volume isn t too soft which can add excessive noise or too loud which creates distorted recordings ADOBE AUDITION 243 User Guide After you ve enabled the desired track s and optionally specified its their recording properties press the Record button in Adobe Audition s Transport Controls or use the Ctrl Spacebar keyboard shortcut to begin recording from the cursor When recording is complete press the Stop button in Adobe Audition s Transport Controls or hit the Spacebar to terminate the recordin
54. This vertical slider adjusts the track s volume measured in dB Dragging the slider up or clicking on the arrow at the top of the slider increases the track s volume while moving it downward or clicking on the arrow underneath the slider reduces the volume accordingly You may also specify the track s volume by directly entering the desired dB value in the text box above the Volume Slider Panning Slider This horizontal slider adjusts the track s pan measured in percentage Moving the slider to the left or clicking on the arrow at the left of the slider reduces the volume of the right channel while dragging it to the right or clicking on the arrow to the right of the slider decreases the left channel s volume You can also set the track s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider Negative numbers such as 100 denote a left pan while positive numbers like 100 mean a right pan e Title The default title of the selected track such as Track 3 appears in this editable field You may rename the track by highlighting the text in this field and typing over it Note that the name of the Track Tab changes accordingly ADOBE AUDITION 257 User Guide e Output The item shows where the track will be output to such as a sound card or bus If you have more than one output device in your system you can select it from the dropdown list e Record The devi
55. Track Console If real time effects have been previously added you ll see a tabbed window with panes for effect settings and mixing If you haven t applied any real time effects to the track yet the Effects Rack dialog is displayed Rack Settings Click on this command to display the Effects Rack for the current track ADOBE AUDITION 253 User Guide Playback Device This command brings up Adobe Audition s Playback Devices window which lets you assign the output properties for the selected track e Wave Tab Playback Devices Track 6 xj Wave MIDI Devices 1 SB Live Wave Out BCOO Busses Untitled Bus 4 Untitled Bus B I Same for All Tracks The Wave Tab of the Playback Devices Dialog e Devices All of your system s devices that are capable of playing waveforms are listed here e Busses A list of all Adobe Audition busses you ve created is shown here e New Bus Click on this button to add a new bus to the Busses list A properties dialog for the new bus appears By default busses are automatically named with a letter of the alphabet but you can give a bus a friendly name by filling out the appropriate field in the Bus Properties dialog e MIDI Tab A list of all your system s MIDI output devices is shown here xl Wave MIDI 2 A SB Live MIDI Synth 3 B SB Live MIDI Synth 4 SB Live MIDI Out BC00 The MIDI Tab of the Playback Devices Dialog e Same for A
56. Two methods of choosing the exact audio you wish to extract are provided Track and Time e Track If you want to extract one or more complete CD tracks push the Track button A list of all tracks on the compact disc is shown along with their lengths stated in Min Sec Frame format There are 75 frames in each second of compact disc audio Click on the desired track names to select them for extraction simultaneously holding down the Ctrl key to choose non contiguous tracks or the Shift key for contiguous selection Time To extract part of a track or a segment of audio that spans multiple tracks push the Time button Enter the beginning frame in the Start box and the total number of frames you wish to extract in the Length box There are 75 frames in one second of CD audio The actual start and length times are displayed in Min Sec Frame format above their respective boxes The Range bar provides a graphical representation of not only the amount of audio that will be extracted but where the audio appears within the CD However if only a short bit of audio is selected for extraction you might not see any change in the appearance of the Range bar Q The Time option is great for pulling hidden tracks from CDs as well as to join tracks that have been broken up by track indices such as performance track CDs and live albums 49 50 CHAPTER 5 File Menu Edit View Interface Options Two main options are provided Generic Win32
57. Uncheck this box to select 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 on the appropriate tab to change Initial and Final Settings Equalizer Bands Adjust these sliders to increase or decrease the frequency component specified beneath the slider Amplitude is shown above each slider Master Gain This control adjusts the equalizer s overall level Sliders are provided for both the left and right channels of stereo waveforms Many times when you increase the EQ frequencies of a waveform the waveforms volume is increased as well which Q could lead to clipping Use the Master Gain sliders to reduce the level before applying the effect Lock L R This functions as a toggle to let you adjust channels together or separately 158 CHAPTER 8 Effects Menu Edit View e With Lock L R checked the scroll bars for the left and right channels will move together maintaining the same settings for each channel e Uncheck Lock to adjust the channels separately Presets Adobe Audition comes with several Quick Filter presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Quick Filter setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are
58. View shortcuts Shortcut Key Use this section if you want to be able to execute the currently highlighted command from your computer s keyboard Adobe Audition gladly accepts most single key shortcuts The most notable exceptions are the Print Scrn Scroll Lock Num Lock Caps Lock Tab and Enter keys However you can use the Ctrl Shift and Alt keys or any combination of the three to act as the first part of a multiple key shortcut With your text cursor in the Press new shortcut key field press the desired key s to use for the currently highlighted command s shortcut key Use the Clear button to remove an entry from the field Q Many Adobe Audition users find single key shortcuts such as N for Normalize faster to use and easier to remember MIDI Trigger Use this section if you want to be able to execute the currently highlighted command as a MIDI event With your text cursor in the Press new MIDI note or adjust new controller value field press the desired MIDI note or adjust the new controller value Use the Clear button to remove an entry from the field You also may select the MIDI channel to receive the trigger from the drop down Channel list to the right The default channel is 1 Conflicting Keys If a command s keyboard shortcut is already in use you ll be notified here Restore Defaults Press this button to restore all keyboard shortcuts to Adobe Audition s default assignments 353 Appendix B Glossary
59. Wet Dry Fields only appear in the Bus area Mix Gauge The Mix Gauge which is located underneath the Track Controls of the bottommost viewable track indicates how much background processing Adobe Audition has completed It can be thought of as a fuel tank gauge except that instead of fuel it measures how much processing needs to be carried out by Adobe Audition behind the scenes The further that the Mix Gauge s green bar progresses to the right the more processing has been done to complete the current mixing tasks Once the processing has been completed the bar lights up to a bright shade of green which means that the entire session has been fully mixed The Mix Gauge Some notes about the background mixing process Mixing involves combining all of the placed waveforms into two or more channels for output Because you can edit add and subtract waveforms in the multitrack environment Adobe Audition must constantly watch for changes to the multitrack session such as a moved or deleted waveform a volume change or new material recorded into a track When something is altered Adobe Audition has to immediately work that change into the mixed output and it does so through background mixing Background mixing occurs behind the scenes much of the time that you re in the multitrack environment and is generally very fast The faster your system especially your CPU and hard drive s the faster Adobe Audition can mix in the backg
60. and ASPI SPTI Under normal circumstances ASPI SPTI should be selected ASPI developed by Adaptec stands for Advance SCSI Programming Interface SPTI is an acronym for SCSI Pass Through Interface and was implemented by Microsoft as an Operating System supported way of sending SCSI commands at this writing it s only available on Windows NT Windows 2000 and Windows XP Generic Win32 should only be used if the ASPI SPTI setting doesn t produce satisfactory results The Generic Win32 option causes the Extract Audio From CD feature to use Input Output control codes instead of SCSI commands When the ASPI SPTI button is pushed several additional options are available Read Method is a drop down menu that lets you choose the way Adobe Audition reads CD audio Several methods are provided many of them developed before the SCSI 3 specifications were published The SCSI 2 specs made no accommodations for CD ripping e MMC Read CD This is the SCSI 3 specific command and it s the command that most all recent drives will work with If you have a newer CD ROM drive try this setting first e SBC Read10 This is a standard SCSI read command that uses a 10 byte SRB SCSI Request Block All SCSI devices are required to support this command e SBC Read6 This is a standard SCSI read command that uses a 6 byte SRB SCSI Request Block Many SCSI devices support this command but since it s optional not all do e Plextor D8 U
61. apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played ADOBE AUDITION 155 User Guide Parametric Equalizer Parametric equalizers are used for fine editing of frequencies within a sound They differ from equalizers that offer a specific number of frequencies and Q bandwidths which determines how many overall frequencies will be affected by a single selected frequency control in that they give you continuous control over the frequency Q and gain settings Parametric Equalizer x E Elid 2 2 2 amp Se ee ee El E a ge wal i za i 0 Low Shelf Cutoff __ bil2522 Hajo fa a a ee High Shelf Cutoff 4 7000 Hz fo po po fo fp ae Center Frequency Width v1 E e0 He feoo Q Constant Width Mv 2s Bi f300 He 200 a Constant Q M34 imi a20 Hz o0 g M 4al 50 Hz o g Bol gt f7040 Hz po Q OK Mackie Low Cut Mackie Mid Boost Mackie Mid Cut Old Time Radio Remove 60H2 plus odd Harmonics Reset to Zero Flat Resonating A s Presets Cancel I Bypass Close Master Gai fo dB cathe Preview Help Add Delete dudi Parametric Equalizer dialog For example with the parametric equalizer you can boost a broad range of frequencies that are centered around 1000 Hertz
62. are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played You can reduce the noise incurred by the sound board s circuitry during recording just record a second of silence before whatever you want to record and tell the noise reducer to remove the sound of that silence in order to further reduce the noise level by up to 10dB Note Noise reduction works best on 16 bit and 32 bit samples Although it will work with 8 bit audio it s impossible to get the noise level to less than about 45dB if even that Noise at 45aB is very audible as owners of 8 bit sound cards can attest You can get much better results by converting to 16 bits first reducing the noise and downsampling back to 8 bits than by reducing noise in 8 bit samples directly You ll get better results with Noise Reduction if the original signal is centered To center a signal highlight it and choose Q the Center Wave preset from the Effects gt Amplitude gt Amplify function Centering the wave adjusts the DC offset to zero If the wave isn t centered you may hear audible clicking in quiet parts after processing Because centering takes out all frequencies below about 16Hz it s completely safe to do without any ill side effects You can generate interesting effects by choosing valid foreground audio as your profile footprint rather than background noise or hiss For example within a vocal line
63. audio Higher sample rates produce higher resolution audio but at the expense of requiring more disk space Frequencies of up to one half the sample rate can be produced effectively So to reproduce a frequency of 10Khz a sample rate of at least 20Khz must be chosen See Nyquist Frequency Sampler A device that records and plays digital sounds samples many times with features to edit and store the samples SCSI Small Computer Systems Interface Pronounced skuzzy SCSI is a standard for attaching components such as hard drives and CD ROMs to a computer It allows for multiple devices to be daisy chained to the same controller and for very fast data transmission Sequencer A programmable electronic device which can play a stepped order sequence of musical events such as samples pitches and rests Session A Session in Adobe Audition is a multitrack project Actually session can refer to the project itself as in your session or to the act of working on the project as in during your session A Session is stored as a file on your hard disk with the extension ses and contains the details of the project such as what tracks contain what audio files volume levels and envelope information among other things Session files don t actually store the audio data in them instead they point Adobe Audition to where it can find and load the sound files used in the project Session Display The workspace where audio da
64. bottom ADOBE AUDITION 153 User Guide Uncheck the box the have the y axis ruler display values from 180 degrees top to 180 degrees bottom Log Frequency Scale Check this option to represent the values of the graph s x axis horizontal ruler logarithmically You would use this mode to work at finer detail in the lower frequencies Log scale is how the ear hears so evenly spaced locations on the log scale represent what we hear as evenly spaced frequencies Each octave occupies a fixed width on the display If this option is unchecked the values of the graph s x axis ruler are shown linearly from 0Hz to the Nyquist Octaves on the left take up much less width on the display than do octaves on the right Presets Several Graphic Phase Shifter presets are included More information on presets can be found in the Looking at the Work Area chapter FFT Size Select the desired FFT size measured in points from this drop down list Higher sizes usually lead to more precise results but take longer to process Channel Use this drop down list to choose the channel s you want to apply the phase shift to Note Keep in mind that applying any phase shift to both channels simultaneously will result in a file that sounds exactly the same as it did before being processed when you re listening in stereo even though it may be phase shifted all over the place This is because we cannot hear phase directly So for interesting effects it s
65. break up or skip during preview In multitrack the preview is not necessary as effects are used non destructively Basically every effect in the Multitrack View is in preview all the time Multitrack Adobe Audition s multitrack environment enables you to place multiple waveforms MIDI files and video soundtracks into different tracks for simultaneous playback and mixdown No matter which type of audio you use each sound instance in Adobe Audition s Multitrack View is referred to as a block The mixing process involves combining the audio of all of the placed blocks into two or more channels for output Because you can edit add and subtract blocks in the multitrack environment Adobe Audition must constantly watch for changes to the multitrack session such as a moved or deleted sound file a volume change or new material recorded into a track When something is altered Adobe Audition must immediately work that change into the mixed output and it does so through background mixing Background mixing occurs behind the scenes and is generally very fast The faster your system especially your CPU and hard drive s the faster Adobe Audition can mix in the background The Mix Gauge at the bottom of the Track Controls in the Multitrack View shows how far along Adobe Audition is in the process of mixing your session The meter goes from empty to full as it mixes the session and it turns a bright color when the entire sess
66. by a carriage return and channels separated by a tab character The file extension is txt An optional header can be placed before the data If there is no header text then the data is assumed to be 16 bit signed decimal integers The header is formatted as KEYWORD value with the keywords being SAMPLES BITSPERSAMPLE CHANNELS SAMPLERATE and NORMALIZED The values for NORMALIZED are either TRUE or FALSE Attack The first part of the sound that you hear Some sounds like pianos and drums have a very fast attack the loudest portion of the sound is reached very quickly A sound with a slow attack rate such as a soft string section slowly increases in volume Attenuate To make smaller such as to reduce volume or signal level AU This format is the standard found on NeXT and Sun computers and has many data types Adobe Audition supports the CCITT mu Law A Law G 721 ADPCM and linear PCM data variants Like Windows WAV and AIFF files this format can support mono or stereo 16 bit or 8 bit and a wide range of sample rates when saved as linear PCM The most common use for the AU file format is for compressing 16 bit data to 8 bit mu law data AU is used quite extensively for distribution on the Internet and for inclusion in Java applications and applets AU files can have either an au or snd extension Audio File Format The method used for writing audio data to disk for storage is known as a File Format Adobe Audition supports many file
67. by selecting it and choosing Edit gt Full Trim This Trim command works in the same fashion as Trim in the Edit View All material will be removed from the selected waveform block except the portion within the highlight Use Trim to remove unwanted material around a selection You may also trim an area using the Adjust Boundaries command Trim differs from Adjust Boundaries in that Trim won t reveal any material within a highlighted region Trim will only remove that which is outside of the highlight for the selected waveform block Note Unlike the Trim command in Adobe Audition s Edit View this version does not remove any data from the actual waveform Trimming in Multitrack View simply tells Adobe Audition to disregard this material when playing back You may return any trimmed waveform to its original state at any time by selecting it and choosing Edit gt Full Cut Cut will remove the highlighted portion of a selected waveform For example if track 3 contains a waveform that is 5 seconds in length selecting it highlighting the middle 1 second and choosing Cut will remove the middle 1 second leaving the 2 second portions on both sides If you want to remove unwanted material around a highlighted region use Edit gt Trim instead Note Unlike Cut in Adobe Audition s Edit View this Cut command does not remove any data from the actual waveform and places nothing on the clipboard Using Cut in Multitrack View simply tells Adobe
68. causing the surrounding background noise to get louder on one channel at a time which can sound strange For instance a loud drumbeat in the left channel will make the background noise sound louder in the right than in the left If Joint Channels is checked both channels are used to find a single input dB value and both channels will be amplified to by the same amount thus preserving the stereo center channel image This means a loud drumbeat on the left channel will also cause the right channel to be reduced in level by an equal amount Level Detector Set the following Input Gain the gain measured in dB added to the signal before it goes into the Level Detector the section that detects the current level This essentially pushes the graph up or down by the gain given ADOBE AUDITION User Guide e Attack Time the attack time measured in milliseconds applied when retrieving the current amplitude information Attack Time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume If there s suddenly a quiet portion that drops 30dB it will take the amount of time specified in this field before the output actually drops to its corresponding volume level If the sum of the Attack and Release times is too short less than 20 milliseconds total audible effects such as a vibrating sound can be heard at around 1000 Hz ms total For example if the Attack and Release t
69. contiguous selections or the CTRL key for noncontiguous selections Destination Folder This is the folder to which the processed files will be saved after the script has been run on them Select the destination folder by typing in its path in this field or by pressing the Browse button ADOBE AUDITION 213 User Guide Output Filename Template The names of files in your batch can be modified before being saved to the Destination folder When running a batch the processed file s extension will automatically change to that of the format chosen using the Output Format control for instance aif for Apple AIFF You can however force another extension or alter the first part of the filename by using the Output Filename Template There are two characters to use when altering the Output Filename Template lt Q e A question mark will signify that a character doesn t change 4 e An asterisk will denote the entire original file name or entire original file extension Here are some examples of how filenames will be saved given the original file name and the filename template zippy aif wav zippy wav toads pcm q voc qtoads voc funny mp3 b bunny mp3 biglong au au bigl au bart wav x wav bartx wav Output Format This selects the file format that all processed waveforms will be saved to You may choose from any of Adobe Audition s supported file types as well as ente
70. currently utilized by Adobe Audition Use gt gt Press this button to move a selected item from the Unused MIDI In Devices list to the Device Preference Order list lt lt Remove Click on this button to remove a highlighted item from the Device Preference Order list It will then appear in the Unused MIDI In Devices list Move Up Pushing this button moves the selected item up in the Device Preference Order list Move Down Pressing this button moves the highlighted item down in the Device Preference Order list Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for MIDI input in Adobe Audition s Edit View EV appears next to the device s name Just one MIDI In Device can be used in Edit View Properties A press of this button brings up the highlighted item s properties in Adobe Audition s Device Properties dialog Shortcuts Keyboard amp MIDI Triggers Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer and or MIDI keyboard For instance instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a waveform you can simply press Ctrl X ADOBE AUDITION 237 User Guide Likewise you can execute commands from a MIDI keyboard a sequencer or any other device capable of issuing a MIDI command This type of shortcut is referred to as a MIDI Tri
71. determine the Level Detector s attack value and react the Gain Processor s attack value to the current signal level so Lookahead Time will actually cause the attacks to start before the audio gets loud instead of right on top of the transient Otherwise with a Lookahead Time of 0 a spike will stay loud until all of the attack times have elapsed Band Limiting Tab The fields in the Band Limiting tab allow you to specify a frequency range where all dynamics manipulation will occur 107 108 CHAPTER 8 Effects Menu Edit View Dynamic Range Processing xj Graphic Traditional Attack Release Band Limiting Presets _Add _Del All dynamics manipulation will occur only within this frequency range 2 1 Compressor lt 20dB 3 1 Compressor lt 10dB 3 1 Compressor gt 30dB Low Cutoff jo He 3 1 Expander lt 10dB High Cutoff 24000 Hz cc De Esser Hard De Esser Light De Esser Medium p 4 1 above 20 dB a veal below 20 dB Preview OK T Bypass Close Cancel I Create Envelope Only preview as noise Help PELE Dynamics Processing dialog Band Limiting tab Low Cutoff This is the lowest frequency that dynamics processing will affect You can define a band or range to which compression or expansion is applied within the current frequency range The Low Cutoff point is the bottom boundary in defining this band For example with values of 1000 for Low Cutoff and 5000 for High Cutoff
72. dragging Dragging to the right increases the number while dragging to the left reduces it For more equalization control go to View gt Track EQ Record This button arms the track for recording Press this master record button in the Transport Buttons to actually start recording Solo This button solos the track so that only it will be heard on playback All other tracks are muted Note Despite its singular name more than one track may be soloed To do this hold down the Ctrl key while clicking on the solo buttons of all tracks you wish to put into solo mode Mute The Mute button silences the output of this track More than one track in an Adobe Audition session can be muted at one time Show Organizer Window This command lets you see Adobe Audition s Organizer window This handy tabbed window allows you to easily open and close files choose effects including dragging real time effects directly to tracks and more Note The Organizer window is fully documented in the Looking at the Work Area chapter Show Cue List The command opens the Cue List window which is a dockable window A cue list is a list of time offsets or locations defined within an audio file A cue can be either a point that specifies a cursor position or a range that specifies a selection You may define and save an unlimited number of cues in the Cue List for later recall or for assembling in Adobe Audition s Play List Note The Cue List is ful
73. dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played You can create some very interesting effects by changing the initial and final equalization settings so that they can morph from one curve type to another such as having a bass y curve change to a flat one at the introduction of a song To produce a semi low pass filter set the higher frequency scroll bars to 30 to cut out higher frequencies Similarly you Q can create a high pass filter by reducing the lower frequencies Note Boosting any of the frequencies to very high values may lead to clipping Scientific Filters Adobe Audition s Scientific Filters provide high order IIR Infinite Impulse Response filters for precise band pass band reject notch or high or low pass filtering ADOBE AUDITION 159 User Guide Scientific Filters E x E Frequency Response dB E Group Delay milliseconds Presets Add _Del 60Hz Hum Notch Filter Drop Off Below 250Hz Hiss Cut above 10kHz Leave the Bass 10Hz to 400 Hz Notch around 1kHz by 6dB Remove Subsonic Rumble Strictly 1kHz 1593 Hz 46 dB 169 C Phase Delay Extended Range Bessel Butterwort Chebychey 2 Master Gai aster Gain Low Pass High Pass Band Pass Band Stop p Left dB Cutoff 250 Hz Order 6 eet om 5 ight Pass ripple 0 dB Close C Transition Bandwidth E 25 Hz Actual ripple g dB E Can
74. dynamics processing only affects audio in the frequency range of 1kHz to 5kHz Q To use the entire frequency range of the source material leave this setting at 0 High Cutoff This is the highest frequency that dynamics processing will affect The High Cutoff point is the top boundary in defining this band For example with values of 1000 for Low Cutoff and 5000 for High Cutoff dynamics processing only affects audio in the frequency range of 1kHz to 5kHz To use the entire frequency range of the source material leave this setting at 0 To use the entire frequency range of the source material this setting should be at 1 2 the current sample rate 24000 for 48kHz 11025 for 22kHz etc Create Envelope Only Check this option to apply any dynamics processing and have the result returned as an amplitude envelope While it probably won t be much fun to listen to this envelope can then be copied and used with Modulate option of Edit gt Mix Paste to modulate it with another sound s amplitude Of course it s also useful for just seeing the amplitude envelope of your audio When you press the Preview button with the Create Envelope Only box checked yowll hear pink noise instead of the audio that s highlighted in the Wave Display ADOBE AUDITION 109 User Guide Q You might want to use this feature on a copy of your waveform instead of the original file Presets Adobe Audition comes with several Dynamic Range presets including some
75. e Friendly Name By default Adobe Audition names its busses after a letter of the alphabet such as Bus A but you can easily rename a bus by highlighting the text in the Friendly Name field and typing over it 287 288 CHAPTER 15 View Menu Multitrack View Output Device This drop down list is used to select the desired output device for the bus e Installed Real Time Effects All installed Adobe Audition and DirectX effects are listed in hierarchical format To add an effect to a bus select it and press the Add gt button The effect will then appear in the Current Effects List pane e Current Effects Rack All effects assigned to the bus are listed here To remove an effect from the Current Effects Rack select it and press the lt Remove button Move an effect up in the Current Effects Rack list as long as it s not already in the top position by selecting the effect s name and pressing the Move Up button the Move Down button moves the select effect down in the list if it s not already at the bottom e Presets The Bus Properties window supports the saving of favorite settings as presets Press the New button to bring up a dialog for naming a new preset When OK is clicked a new item is added to the drop down Presets menu To remove the currently visible preset listing press the Delete button e Properties Pressing this button brings up a tabbed dialog used to adjust the properties of each effect in the Current
76. e Right click and drag over the Track Display Ruler to automatically zoom the waveform window to show only the specified tracks e Right click on the Track Display Ruler to call up a menu with three zooming options Zoom In Zoom Out and Zoom to Selected Tracks Track Context Menu Right clicking on a track in the Multitrack View session window will invoke the Track Context menu 250 CHAPTER 13 Navigating the Multitrack View Recording Device Insert gt Mix Down to Track Bounce gt Mute Track Solo Track Solo Current Track Only Arm Track for Record Track Volume Track Pan Effects Settings Rack Settings Playback Device Track Equalizer Track Properties Select All Blocks in Track Insert Delete Time Track Context Menu Insert Use the Insert Menu to import waveforms MIDI files video files and audio from video files into Adobe Audition s Multitrack View Both active files those already in Edit View and inactive files not already opened may be easily inserted a Wave from File This command activates Adobe Audition s Open a Waveform dialog It allows you to choose one or more supported waveforms to be placed at the insertion point in the session window You can open several waveforms at once by selecting them with the Shift for contiguous selection or Ctrl for non contiguous selection keys pressed Multiple waveforms are placed at the insertion point each o
77. encode save and decode open wma files When a file is saved as a wma file it s encoded and compressed as specified by the wma settings As a wma file is opened it s decompressed into Adobe Audition s uncompressed internal format This allows you to save the wma file back to disk as any file format including as a standard wav file Check your online documentation and help for details on the options for saving Windows Media Audio files 36 CHAPTER 3 Wave File Formats Supported by Adobe Audition PCM Raw Data pcm raw This format is simply the PCM dump of all data for the wave No header information is contained in the file For this reason youre asked to select the sample rate resolution and number of channels upon opening By opening audio data as PCM you can interpret almost any audio file format but make sure you have some idea about the sample rate number of channels etc You can also interpret the data as A Law or mu Law compressed When guessing at these parameters upon opening the waveform may sound incorrect in different ways depending on which parameters you have mixed up Once the waveform is loaded and sounds fine you may hear clicks at the start end or sometimes throughout These clicks are various header information being interpreted as waveform material Just cut these out and Voila you ve read in a wave in an unknown format Options Choose from the following Data Formatted
78. file into a track in the Multitrack View drops it in that track Close File Pressing this button closes all of the files that are highlighted in the Files pane Insert Into Multitrack Push this button to insert all highlighted files each into their own track in Adobe Audition s Multitrack View 18 CHAPTER 2 Looking at the Work Area Note If you highlight a file and press the Insert Into Multitrack button multiple times that file is inserted the same number of times each time into a separate track For instance if no other waveforms are in the Multitrack View highlighting a file and pressing the Insert Into Multitrack button five times places the same file into tracks 1 2 3 4 and 5 Display In Edit View Push this button to show a highlighted file in Adobe Audition s Edit View Note Should multiple files be highlighted only the last file you clicked on will appear in Edit View Advanced Options Depressing this button causes additional options to appear near the bottom of the Files pane Show File Types Youre given the option to show or hide the display of Wave and or MIDI files in the Files pane Click on the appropriate box to toggle its view status Sort By This control lets you decide how you want to sort the entries in the Files pane Recent Access Filename Recent Type or Recent Filename Auto Play When this button is pushed down clicking a file s name causes the file to begin playing Full Paths Push this but
79. files it s possible that you might not have enough free disk space to save the Undo information before continuing on with an edit It s also possible that the time required to save the Undo information of very large audio files can slow your work down In either case the problem can be solved by turning off the Undo function if you don t mind working without a safety net Undo can be turned off three ways 1 On the System tab of Adobe Audition s Settings window Options gt Settings 2 By removing the check mark from the Edit gt Enable Undo Redo menu item 3 By pressing the Skip button in the Saving Undo Data dialog while Undo information is being saved If you find that you don t have enough disk space to save the Undo information you can change the Temp folder to a different drive if available To do this go to Options gt Settings and click on the System tab Change the path in the Temp Folder field so that it points to another drive and folder Enable Undo Redo Highlight and click Enable Undo Redo to toggle its status If a checkmark appears next to this menu item Adobe Audition s Undo and Redo functions are turned on If you don t see a checkmark Undo and Redo have been disabled 62 CHAPTER 6 Edit Menu Edit View Repeat Last Command Just as youd expect this item repeats the last command Most editing functions in Adobe Audition can be repeated using this command but there are a few exceptions suc
80. great sounding compression and limiting settings More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the selected dynamic range processing setting before you apply it to the waveform The selection is played over and over looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is looped Check the Bypass box to hear the waveform without any changes in dynamic range for a quick before and after comparison Q Use the RadioLimit Fast Release Boost preset to simulate the processed sound of a contemporary FM radio station Envelope Envelopes give you control over which parts of your wave are amplified and by how much The top of the graph repre sents 100 normal amplification the bottom represents full attenuation silence This function is handy when modifying tones that are generated with Adobe Audition so as to create more realistic sounding instruments and effects Create Envelope x Create envelope by clicking control points below gt 38 888 8Z378 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 Presets Add Del ADSR Envelope Bell Curve Curve Pulse Keep Attack Onl Quick Slope In Remove Attack Smooth Attack Smooth Ends Smooth Release J Bypass Soft Curve Preview Help Create Envelop
81. in the event that it s recorded over Material is not overwritten when recording into an existing waveform block Instead a new instance or take of the block is created and recorded into preserving the previous waveform With Allow Multiple Takes disabled recording is done into the same spot each time Note The Punch In function will automatically enable Allow Multiple Takes for the selected Punch area Take History The Take History function is available for any track that has Allow Multiple Takes enabled With multiple takes material isn t overwritten when recording into an existing waveform block Instead a new instance or take of the block is created and recorded into preserving the previous waveform Take History is simply a list of each of these instances allowing you to move between them delete them and in the case of a Punch In merge them back into the surrounding material they once belonged to e Take List This is a list of takes available as alternates for the selected waveform block e Merge Current Take Choose this command to merge a take completed with Punch In back into the surrounding material e Delete Current Take This removes the selected take deleting it from your hard drive Note Each take exists as an actual waveform on your hard disk and will take up drive space until deleted Punch In takes are automatically deleted when Merge Current Take is selected Adjust Wave Volume This command dis
82. information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Graphic Equalizer setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Graphic Phase Shifter The Graphic Phase Shifter lets you adjust the phase of a waveform by adding control points to a graph The x axis horizontal edge of the graph measures the waveform s frequency content while the graph s y axis vertical edge displays the degrees of phase to shift with zero degrees representing no phase shift 152 CHAPTER 8 Effects Menu Edit View IV Splines 360 Range JV Log Frequency Scale pe Flat Preview 32768 x points F Bypass m i Channel fiis er 360 degrees Right Only ha Cancel Help Add Del Graphic Phase Shifter dialog Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Most surround sound stereo decoders do different things with audio depending on the phase relationship If you re trying Q to take advantage of surround sound try making just one channel 90 degrees out of phase This would play the audio on all channels when surround soun
83. interesting effects Click on the appropriate tab to change Initial and Final settings Copy from Initial Settings This button in the Final Settings dialog copies the tone values from the Initial Settings window to the Final Settings window for editing Base Frequency This is where you enter the main frequency to be used for sound generation Modulate By This setting modulates the Base Frequency in pitch over a user defined range For example a 100Hz setting modulates the original frequency by 100Hz In other words a 1000Hz tone would modulate between 950Hz and 1050Hz Modulation Frequency This is the rate times per second at which the frequency modulates Entering a value of 10 for instance generates tones that seem to warble in amplitude at the rate of 10 times per second The tones actually warble in pitch frequency as they should but because of the variance in the perceived energy levels of different frequencies to the human ear they seem to warble in amplitude Frequency Components Use the Frequency Components controls to add up to five overtones to the fundamental frequency Base Frequency Enter the multiplier for each overtone below the Frequency Components slider s The actual frequency will be this many times the fundamental Then use the sliders to mix each of the individual components 0 to 100 in proportion to one another The overall gain signal level may be adjusted with the dB Volume sliders If the Lock to
84. is chosen Adobe Audition generates Mono noise by using a single noise source with the left and right channels set equally to the same noise source e Inverse With this option selected Adobe Audition generates Inverse noise by using a single noise source similar to the Mono option However this time the left channel s noise is exactly inverse of the right channel s noise When you listen to it with stereo headphones the effect is that of the sound coming from the center of your head instead of out in space somewhere Intensity Adjust this slider to specify the noise s intensity using a scale from 2 to 40 Or you can key in the value numer ically in the entry box to the right of the slider With higher intensities the noise becomes more erratic and sounds harsher and louder Duration In this field enter the number of seconds of noise you want to generate Note For very long periods of noise it s faster to generate a shorter period say about 10 to 20 seconds and delete excess noise at the beginning and end so that the waves are starting and ending at the midpoint Then copy and loop using Edit gt Mix Paste as many times as needed Generate Tones Use this function to create a simple waveform with control over numerous amplitude and frequency related settings Generating tones is a great way to provide base audio to create impressive sound effects Generate Tones E Initial Settings Final Settings x
85. key while clicking on the solo buttons of all tracks you wish to put into solo mode e Mute The Mute button silences the output of this track More than one track in an Adobe Audition session can be muted at one time Select All Blocks in Track As youd expect this command selects all blocks in the current track Each block in the track is highlighted Insert Delete Time Use Insert Delete Time to introduce an amount of silence into the session Insert at the cursor location or to cut the selected area out of the session Delete Insert will shift all material wave blocks or parts of wave blocks right of the cursor position to a location after the time amount Wave blocks will be split if necessary and the silence inserted If Delete is chosen the highlighted area will be removed with all wave blocks to the right of the selected region shifted to the left x Insert A decimal time C Delete Selected Time Help rr Teepe T eapeel 7 Cancel All blocks to the right of the cursor ces will be moved to the right Insert Delete Time Dialog 258 CHAPTER 13 Navigating the Multitrack View Block Context Menu Right clicking on a block in the Multitrack View session window will invoke the Block Context menu The items that appear on the Block Context menu will vary depending upon the type of block waveform video or MIDI selected Edit Waveform Loop Properties Allow Multiple Takes Take Histor Adj
86. lead vocal from many contemporary stereo music recordings Dynamics Processing The dynamics processor varies the output level of a waveform based on its input level This lets you limit or compress the dynamic range of a sample so that the perceived loudness is kept below a defined limit or so that the waveform s overall dynamic range is kept at roughly the same level You can also expand or gate the signal so that low level signals are reduced in level thereby increasing the perceived dynamic range or so that signals that fall below a certain threshold i e noise are eliminated Control of the Dynamics Processor is carried out through any of the four tabbed sheets Graphic Tab Dynamic Range Processing x Graphic Traditional Attack Release Band Limiting I Splines Presets Add Del 2 1 Compressor lt 20dB a 3 1 Compressor lt 10dB 3 1 Compressor gt 30dB 3 1 Expander lt 10dB 4 1 Compressor gt 20dB emp 4 1 above 20 dB a flat 1 1 below 20 dB Ei OK Flat Invert IC T Bypass Close I Create Envelope Only preview as noise Help Dynamics Processing dialog Graphic tab 104 CHAPTER 8 Effects Menu Edit View Graph The graph depicts input level along the x axis left and right and the new output level along the y axis up and down A line that flows directly from the lower left to the upper right default depicts a signal that has been left untouch
87. list and press the Change Color button to bring up a dialog for adjusting the element s color After you ve made your selection the example to the right will change to reflect the newly chosen color Spectrum Choose one of these options e Reverse Direction This option inverts the normal colors of the spectrum display similar to an Invert or Negative command in a photo editor e Gamma This setting works just like the Gamma function in many image editors The value entered adjusts the overall brightness of the Spectral View Positive numbers make the display brighter while negative numbers darken the display Selection The controls in this section are used to adjust the appearance of the selected highlighted portions of a waveform when shown in spectral display The example to the right dynamically changes as you make modifications e Transparency Use this slider to adjust the transparent value measured in percentage of a selection 0 is no trans parency while 100 is maximum transparency You may also directly enter a percentage in the box to the right of the slider e Invert Check this box to have the selection colors be the inverse of the non selected colors The Transparency controls are disabled 220 CHAPTER 12 Options Menu Edit View Controls Tab This window lists the Adobe Audition control elements which can have their colors changed Select an item from the list and press the Change Color button to bring up
88. list of each of these instances allowing you to move between them delete them and in the case of a Punch In merge them back into the surrounding material they once belonged to Take List This is a list of takes available as alternates for the selected waveform block Merge This Take Choose this command to merge a take completed with Punch In back into the surrounding material Delete This Take This removes the selected take deleting it from your hard drive Note Each take exists as an actual waveform on your hard disk and will take up drive space until deleted Punch In takes are automatically deleted when Merge Current Take is selected Adjust Wave Volume Wave Block Only If a single wave block is highlighted this command will appear on the Multitrack View s Edit menu Click it to display a vertical slider used to adjust the wave block s volume which is measured in dB Dragging the slider up or clicking on the arrow at the top of the slider increases the wave block s volume while moving it downward or clicking on the arrow underneath the slider reduces the volume accordingly You may also specify the wave block s volume by directly entering the desired dB value in the text box above the Volume Slider Adjust Wave Pan Wave Block Only If a single wave block is highlighted this command will appear on the Multitrack View s Edit menu Click it to display a horizontal slider used to adjust the wave block s left right
89. loading Vocoder An Adobe Audition Multitrack Effect that will modulate one signal with another 366 VOX The Dialogic ADPCM format is commonly found in telephony applications and has been optimized for low sample rate voice It will only save mono 16 bit audio and like other ADPCM formats it compresses to 4 bits sample for a 4 1 ratio This format has no header so any file format with the extension vox will be assumed to be in this format WAV Files with the wav extension typically are Microsoft Windows uncompressed PCM audio files However Adobe Audition also supports compressed variations of wav files such as A Law mu Law ACM DVI IMA ADPCM and Microsoft ADPCM Wave File The term Wave File usually refers to any audio file format which contains soundwave data Windows users sometimes just think of a Wave File as an audio file with the wav extension but a Wave File could very well be an au aif or mp3 file Waveform The term Waveform is used to describe the visual representation of a signal amplitude over time displayed in Adobe Audition Waveform can also be used to refer to the signal itself as in listen to the waveform In this case the term usage is referencing sound waves and is being used in an acoustical sense Waveform Block Any waveform entry in the Multitrack environment A Waveform Block may be an actual represen tation of a waveform an Image a pointer to another waveform block a copy of another wave
90. measured in meters per second e Coming From Enter the virtual direction measured in degrees that the effect is coming from e Passes in front by Specify the number of meters you want to the effect to pass in front of the listener by e Passes on right by Specify the number of meters you want to the effect to pass by the right of the listener s perspective by Circular Options Set the following e Radius This value which is measured in meters sets the circular dimensions of the effect e Velocity The value entered here is the virtual speed at which the effect moves measured in meters per second e Starting Angle This value measured in degrees specifies the beginning virtual angle of the effect e Center in front by Enter the number of meters where you want to the effect to center in front of the listener e Center on right by Specify the number of meters where you want the effect to center on the right of the listener s perspective Adjust Volume based on Distance With this box checked the volume of the effect is automatically adjusted based upon the virtual distance values that have been specified Adjust Volume based on Direction Check this box to have the volume of the effect automatically adjusted based up the virtual direction values you ve entered Quality Level This drop down list lets you select from six different levels of processing quality The lower quality levels will take less time to process but the h
91. nR ai 65 Delete Silence gt sy cccccavorsinneaene pn EEA EREE 65 T eeraa nE E E A E 66 ZELO GIOSSINGS c ccdeccneriadsnootedsanmanguadgemee antes n 66 FING Beats icnedannnednemiactinineeasden oaeeeieesaesansseanen 67 Auto CUES aoreet a E Gide ONE EEE E EEN 68 SNAPPING arrier rore E ETE A TEE E N EEA 69 Group Waveform Normalize 1 cece eee cence eee eee 69 OQutof Band Peaks ci sacscouevs cite ein NEE ties 73 Adjust Sample Rate 0 cece cece cece eee ene e eee eeenee 73 Convert Sample Type 1 cece eee eee ee ence eeee ee eeenees 75 View Menu Edit View Multitrack MiQW oc agsins siasls eaves tae ednde dence and yateane dee 79 Waveform VIEW cis cesedesesseeseriseeels tdalnsensde bes eaate eer 79 Spectral View svdasicesacesicss nare piia ina aE an nE E EDERE 79 Show Organizer Window sssircscacceineiirertosia neri niena 79 SHOW CUGLISE srren iaa a Eaa a 80 Creating Cues and Ranges cece eee eee cece nee e neces 81 Show Play List c stcc ceucteedeve hones AA ONE E 84 Show Transport Buttons cece eee eee ene eee ee enee 85 Show ZOOM BUTIONS g5ccdvelecivelet Wu vdes dade teandasedetoan 85 Show TIME WINdOW saxceweaea ebekda esse ae ds eN dee AE EES 85 Show Sel View Controls 0 12 ese e eee eee e eee reece eeeeees 85 Show L veliMeterss a arasia nEn e E acid ivan us ctaenye 85 Showa Placek eper ud ei iedchegen cave eteatndisecsentended s 86 Display Time Format vvessieiaelyiidaaceiseed ETEVA anes Hes 86 Vert
92. of the green line though so you may only see the yellow line until you change the pan position 4 Left click in the waveform display at the desired time location where you would like to set a pan destination for the sound source This moves the vertical cursor to this time location ADOBE AUDITION 335 User Guide 5 Now move the Panner Point to the desired position in the five channel sound field Note that as soon as you move the Panner Point that two handle points are created on the Envelope lines within the Waveform display These handles now move with your positioning of the Panner Point 6 You can also left click directly on either of the envelope lines to create additional adjustable handles for shaping the envelope lines 7 These Envelope handles are now also able to be edited by left click dragging them to any position and the Panner Point will move in tandem to show you the relative position in the sound field during playback If you wish to delete any single handle simply drag it up or down beyond the boundary of the waveform display area 8 To clear all envelope handle points and reset the track to flat envelopes click on the Clear All button at the top right of the waveform display area 9 Select the Splines checkbox if you prefer the envelope to use rounded Spline curves for smoother transitions between points 10 Place the playback cursor back to the start of the track and select one of the Play buttons Watch
93. option is selected the area that s automatically selected is limited to the area you can currently see on screen e Entire Wave When you choose this option the entire waveform is automatically selected even if youre only viewing a portion of it Q Double clicking always selects the current view Triple clicking always selects the entire waveform Highlight after Paste When performing a Paste operation including Mix Paste you can elect to have the inserted selection automatically highlighted or to have the cursor placed at the end of the pasted selection Check this box to enable highlighting Q Leave this option unchecked for easier multiple pastes one after the other System Tab Adjust the options in this section of the Settings window to tell how Adobe Audition should interact with your system xi General System Colors Display Data Multitrack SMPTE r Preview Buffer m Play Record Buffer Total Buffer Size 4 seconds using 8 buffers Minimum Size 1000 ms m Wave Cache Cache Size a1 92 K bytes I Use System s Cache m Temporary Folders Temp Folder C DOCUME 2 TEDTAT 1 LOCA gt reserve free 20 MB Secondary Temp gt reserve free MB m Undo IV Delete clipboard files on exit Enable Undo 5 Levels minimum Puga J Force complete flush Cancel before saving Help The System Tab of the Settings Dialog ADOBE AUDITION User Guide Play
94. or session Zoom to Right Selection Click this button to zoom in on the right hand boundary of the actively selected waveform range or session Vertical Zoom Out In Edit View clicking this button decreases the vertical scale resolution of a waveform s amplitude display in Multitrack View clicking this button shows more tracks Vertical Zoom In In Edit View clicking this button increases the vertical scale resolution of a waveform s amplitude display in Multitrack View clicking this button decreases the number of viewed tracks in the Session Display Time Window Adobe Audition s Time Window displays the current position of the playback cursor The default display value is mmi ss ddd minutes seconds thousandths of a second but this can easily be changed by right clicking on the Time Window and choosing another option such as Compact Disc Samples Bars and Beats or one of several SMPTE values 0 02 54 28 Time Window The Time Window is dockable so you can reposition it at one of several places in the Adobe Audition interface You may also detach the Time Window and have it float above Adobe Audition s main window To close the Time Window when it s floating click on the X control in its title bar To get rid of the Time Window when it s docked right click on its grab bar and select Close from the pop up menu Or just uncheck the Show Time Window item on the View menu to close it in either docking or floating mo
95. overwrite the current shortcut key assignment Clear Press this button to remove the entry in the Press new shortcut key field Function Tab Audition Effect All of the items on Adobe Audition s Effects and Generate menus appear on this drop down list Just select the desired item The last used settings for the item chosen appears in a window just below the Effect list Edit Settings Click on this button to call up the settings window that corresponds to the particular Effects or Generate function You can then change the settings to be used when this item is chosen from the Favorites menu Copy From Last Press this button to copy all the settings from the last Effects or Generate function that was started successfully Use Current Settings Check this option to apply to the Favorite the settings last used for that particular Effects or Generate function Show Dialog Check this box to bring up the settings dialog for the particular Effects or Generate function when you call the Favorite The settings dialog will show the settings you chose in Edit Settings Uncheck the Show Dialog box to automatically use the chosen settings to run the function ADOBE AUDITION 205 User Guide Script Tab Script Collection File This displays the current script collection in use The small button to the left of the field brings up a browse dialog that allows you to choose an Adobe Audition script collection scp file Script This drop down list c
96. reach the specified output volume For example where the Attack is the time it takes for the start of a pulse to reach the desired output volume the Release is the time it takes for the end of the pulse to reach the desired level e Peak mode is a graph interpretation method that is a little more difficult to use than RMS and is a bit outdated It equates to the RMS value times two That is if the RMS value is 20dB then the equivalent peak value will be 40dB This occurs because the RMS value calculated was mapped to a peak sample value for output This method is available here for backward compatibility e RMS isa graph interpretation method that more closely matches the way people hear volume This mode causes the output to be exactly the RMS amplitude that is specified in the graph For example a limiter flat horizontal line at 10dB causes the RMS amplitude of the result to average 10dB where 0dB is a maximum amplitude sine wave without clipping Lookahead Time Lookahead Time is used to handle sharp spikes that may occur at the onset of a louder signal At times and for brief instances these onsets can go beyond the limits of your compressor settings which may be desirable in certain compression scenarios since it can enhance the impact of say a drum hit However this is obviously not desirable if you are using limiting in order to reduce the maximum amplitude of the audio Note The spikes occur because it takes a little time to
97. recording on top of existing waveforms or punch ins Note If you have this option enabled and you do a loopback test by connecting the audio Out to the audio In and recording some ticks and each recording is still a fixed amount out of sync then you can adjust for this by entering this amount in milliseconds in the Latency field of Options gt Device Properties for the recording device being used To compute milliseconds look at the difference in samples multiply by 1000 and then divide by the sample rate For instance if the recording consis tently appears 27 samples ahead of the playback the latency would be 27 1000 44100 or 0 61 ms The reason for the milli seconds format and not samples is because at various sample rates this latency will be different in terms of samples but will be the same in terms of milliseconds Note On sound cards that support sample accurate devices i e synchronized device starting and all devices keyed off of the same clock you don t need to check this box This option allows for some measure of near sample accurate synchronization across different sound cards or when using with a single sound card that doesn t use the same clock for playback and recording such as the Sound Blaster Live card 228 CHAPTER 12 Options Menu Edit View SMPTE Tab This is where you adjust Adobe Audition s settings for working with time code General System Colors Display Data
98. sample rate to a low rate When upsam pling a low quality setting will sound almost identical to a high quality setting Pre Post Filter In general you should enable this option for best results During downsampling and upsampling the appropriate filter will help keep false frequencies from being generated at the low end of the audio spectrum Channels Choose whether the new sample type will be Mono or Stereo by pushing the desired button When you convert to Stereo from Mono or vice versa you re given the option to adjust the mix of the left and right channels When converting from Mono to Stereo you can choose the relative amplitude measured in percentage with which the original mono signal will be placed into each side of the new stereo signal This way you can place the mono source on the left channel only the right channel only or any balance point in between If you re converting from Stereo to Mono this percentage controls the amount of signal from the respective channel that will be mixed into the final mono waveform The most common mixing methods are to use 50 of both left and right channels when converting to Mono and 100 for both values when converting to Stereo To remove all or most of the lead vocals from many stereo music recordings you can convert a stereo waveform to mono with a Left Mix of 100 and a Right Mix of 100 Most vocal tracks are positioned in the middle of the stereo field in phase so converting the s
99. selected the Frequency Band Splitter effect will be unavailable The following are the major components of the Frequency Band Splitter dialog Bands Choose the number of split points here The original waveform will be copied this many times with each copy having a different frequency range as determined by the Crossovers Crossovers These are the crossover frequencies that are used for split points If you don t want to use Adobe Auditions default values enter different crossover frequencies in these boxes The number of active text boxes is based upon the number of Bands chosen Output Waves Adobe Audition automatically assigns each copy of the original waveform block a new name This is usually the original name of the waveform plus its frequency range The names of the copies are listed in this column Max FIR Filter Size Adobe Audition s Frequency Splitter effect uses an FIR Finite Impulse Response filter which maintains phase errors over the response curve This is unlike IIR filters which can have phase error often audible as a ringing quality Higher numbers create higher accuracy in the frequency filtering that the effect does The default FIR Filter Size of 320 should work most of the time However if you get any distortion or ringing in the filtered waves try increasing this number to get a more accurate filter 321 322 CHAPTER 18 Effects Menu Multitrack View Presets The Frequency Splitter effect supports
100. spread far apart the dynamic range is high 120dB Range With this option checked the range of the Level Meters is 120 decibels ADOBE AUDITION 25 User Guide 90dB Range Select this option to have the Level Meters display a range of 90 decibels 75dB Range Click on this entry to display a range of 75 decibels in the Level Meters 60dB Range This option causes the Level Meters to have a range of 60 decibels 45dB Range When you choose this option the Level Meters have a range of 45 decibels 30dB Range Checking this item gives the Level Meters a range of 30 decibels Dynamic Peaks Choosing Dynamic Peaks causes the yellow peak level indicators to reset to a new peak level after 1 5 seconds This lets you easily see the peak amplitude right now As the audio gets quieter the peak indicators start backing off Static Peaks With this option selected the peak levels never reset This lets you retain the maximum amplitude of the signal since monitoring playing or recording began The peak can still be reset manually at any time by clearing the clip indicators clicking on the clip indicator at the right Having Static Peaks selected is great for finding out how loud a song will get before recording it Just start the meters and Q start playing the song When the song is over the peak indicators will show the volume of the loudest part of the song Zoom Buttons Adobe Audition s Zoom Buttons allow you to zoom in or out of the Wave
101. strike a balance between choppiness and chorusing Overlapping can be as high as about 400 but you should only go this high for really high speed increases like 200 or more e Choose Appropriate Defaults When preserving pitch or tempo check this box to have Adobe Audition automatically select good default values for the Splicing Frequency and Overlapping settings Presets Adobe Audition comes with several Stretch presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Stretch setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Refresh Effects List Select this item to scan your system for new Adobe Audition effects and DirectX plug ins 188 CHAPTER 8 Effects Menu Edit View 189 Chapter 9 Generate Menu Edit View he Generate menu displays all the options that relate to waveform generation when youre in the Edit View mode Silence This function generates a specified amount of silence entered in seconds from the current playbar cursor position Any following audio is pushed back in time thereby lengthening the waveform s duration Silence will replace any selected area To use just enter the desired amount of sile
102. supply a title here Record After titling your soon to be script click on the Record button to begin capturing the script s steps Add to Collection Pressing this button will add the script you ve just created to the currently open script collection Keep in mind that if you wish to supply a description for the script do so in the description text area below before pushing this button Clear If you don t wish to add the script you ve just recorded to the collection push the Clear button This button is only available immediately after pressing Stop If you want to remove a script after it s been added you ll need to edit the script by pressing the Edit Script File button Stop Current Script After completing all of the steps to be included in the script return to Adobe Audition s Scripts and Batch Processing dialog and press Stop Current Script Description Immediately after recording a script you may enter a description in this text area for the script you ve just recorded The description will appear in a non editable form when you highlight the script to run Note The only time you can enter a description in this box is after recording not before and not after it s been added to a script collection file If you want to edit the description thereafter press the Edit Script File button to bring up the Windows Notepad applet with the script collection file loaded Script Type These three fields indicate what type of script is
103. that frequencies in this range are high in amplitude The same 15 second stereo wav file displayed using Spectral View Horizontal Portion Bar Use the Horizontal Portion Bar which by default is at the top of the Wave Display to scroll forwards and backwards in time throughout a waveform It can also be used to zoom in and out horizontally in the Wave Display Horizontal Portion Bar e Left click and drag the little hand over the Horizontal Portion Bar s handle to scroll time wise through the waveform 40 CHAPTER 4 Navigating the Edit View e Left click and drag the magnifying glass which appears when your mouse passes over the edge of the Horizontal Portion Bar s handle to change the viewable range of the Wave Display Moving the magnifying glass to the left zooms in while moving it to the right zooms out e Right click anywhere on the Horizontal Portion Bar to call up a menu with three zooming options Zoom In Zoom Out and Zoom Full The menu also has options for moving the Horizontal Portion Bar to the bottom of the Wave Display as well as returning it to its default position at the top of the Wave Display Horizontal Ruler The Horizontal Ruler runs along the bottom of the Wave Display and acts as a timeline It measures time in the same format specified in the View gt Display Time Format menu which is hours minutes and seconds by default Horizontal Ruler e Left click on the Horizon
104. the center zero voltage line To skew the entire selected waveform above or below the center line enter a positive or negative percentage If yowre planning to put normalized audio on CD you might want to normalize the waveforms to no more than 96 Q as some audio compact disc players have problems accurately reproducing bits that have been processed to 100 maximum amplitude ADOBE AUDITION 113 User Guide Pan Expand The Pan Expand effect is used to pan or shift the center channel of a stereo waveform It also lets you expand or narrow the stereo separation of the left and right channels Pan 7 Expand xj r Center Channel Pan Left Presets _Add Del Pan Right to Left Center Right IV Spline Curves Flat r Stereo Expand Expand Normal Narrow Pan Expand dialog Center Channel Panning makes use of the surround and center channels of a stereo recording where the surround channel is the difference L R of the two original channels and center is the sum L R of them In this case you can think of a stereo recording as having 4 channels left right middle surround and this effect will pan these channels around For example you can pan hard left to get the old center channel coming out the left speaker and the old surround channel coming out the right This type of panning can provide realism to original stereo recordi
105. the cutoff level will remain untouched 168 CHAPTER 8 Effects Menu Edit View xi Presets Add _Del _ Preview High Hiss Reduction I Bypass Light Hiss Reduction ard Hiss Reduction EFT Size x points Precision Factor 5 Transition Width 7 dB Transition Wi Spectral Decay Rate 65 Close Reduce Hiss by 24 dB ose Viewing Left Right Get Noise Floor fis drag points Reset Hi Med Low Noise Floor Adjust Ki H gt je dB Remove Hiss Cancel Lower Floor Higher Floor C Keep Only Hiss Help Hiss Reduction dialog Q To get rid of other types of noise try Adobe Audition s Noise Reduction effect To use Adobe Audition s Hiss Reduction 1 To use choose an FFT Fast Fourier Transform Size first 2 Then either reset the noise floor graph to Hi High Med Medium or Low depending on the estimated noise level of the recording Or find a section relatively free of audio that contains mostly hiss and click Get Noise Floor 3 Finally choose how much to reduce hiss by and try a few times reducing hiss from a short sample with different noise floor modifier settings When youre satisfied with the results process the entire area you want to remove hiss from Graph Area The Hiss Reduction graph area depicts what the noise floor looks like with frequency along the x axis left and right and amplitude or noise floor along the y axis up and down Thus the l
106. the graph evenly into 10 octaves ADOBE AUDITION 173 User Guide e Uncheck Log Scale to divide the graph linearly with each 1000kHz for example taking up the same amount of horizontal width Live Update Select or deselect this option e When you check this option the noise profile plot updates as control points are moved around on the graph e With Live Update unchecked the profile plot is only updated when a control point is placed in its new location Noise Reduction Level Use this slider to manually adjust the amount of noise reduction measured in percent to be applied to the waveform or selection You may also enter the desired amount directly in the text box to the right of the slider Note Depending on the original waveform and the type of noise removed high noise reduction levels can sometimes cause the remaining audio to have a flange y or phase y quality If this happens undo the effect and try a lower setting Noise Reduction Settings Set the following options e FFT Size This parameter causes the most drastic changes in quality It determines the number of individual frequency bands that are analyzed The noise in each frequency band is treated separately so the more bands you have the finer frequency detail you get in removing noise For example if there s a 120Hz hum but not many frequency bands frequencies from 80Hz on up to 160Hz may be affected With more bands there s less spacing between band
107. the loudest part of the waveform is set to a specified amplitude thereby raising or lowering all other parts of the same waveform by the same amount If the volume is raised as part of the normalization process Adobe Audition can apply limiting to prevent clipping Note Complete documentation on the Group Waveform Normalize function can be found in the Edit Menu Edit View chapter Snapping Enable this function to have the edges of any block snap to certain time locations when being dragged Snapping is used to align perfectly with time ruler locations when highlighting a region The Snap to locations which vary depending on the Snapping option you have selected act as magnets for any blocks dragged in their proximity and have the effect of pulling the waveform toward them For example if your Time Ruler s format is hours minutes seconds with seconds showing as the division at your current zoom level 1 0 2 0 etc then dragging a block which starts at 1 6 seconds to the right will result in it snapping to the 2 0 location as it nears it You can of course keep dragging beyond 2 0 in this case if you wish Six snapping options are available from the pullout menu and up to five of them may be checkmarked at one time Snap to Ruler Fine and Snap to Ruler Coarse can t both be checked simultaneously 314 CHAPTER 16 Edit Menu Multitrack View Snap to Cues With this option checked the selection will snap
108. the next empty track in your session Use the Mix Down to Empty Track N Bounce function to bounce down multiple tracks to a single track to speed up background mixing and clear up your work area The contents of all or selected enabled unmuted tracks are combined with track and waveform properties such as volume and pan affecting the way the final mix sounds Session elements such as looping images and envelopes are all reflected in the mixed waveform All Waves Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform into the selected track Selected Waves Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform into the selected track 306 CHAPTER 16 Edit Menu Multitrack View All Waves Mono Selecting this option will mix all unmuted waveforms in the session to a mono waveform which will be placed into the selected track Selected Waves Mono Choose this option to mix all highlighted waveforms in the session to a mono waveform which will be opened into the selected track Group Blocks This option will group any selected blocks together Grouping can help with organizing the many blocks in your session For example you can have all of your guitar elements grouped together to easily identify and move them Grouped blocks are designated by a different color than ungrouped blocks as well as a special circular symbol over
109. the note is created by directly stretching or compressing the original sample resulting in higher pitches being shorter than lower pitches Exact Tune Check the Exact Tune box to tune your sample so that when played at A above middle C the frequency of your sample is at 440Hz If the Exact Tune box isn t checked your sample s original frequency will be played at A above middle C Time Pitch The effects in this menu to are used to alter the time duration and pitch tonality of an audio file or selected range Doppler Shifter Use Adobe Audition s Doppler Shifter effect to create the fly by sounds that are most familiar from cars racing by or airplanes flying overhead Let s use a car for our example 182 CHAPTER 8 Effects Menu Edit View Doppler Shifter xj Path Type Straight Line Circular Starting Distance Away o meters Velocity jso meters second Coming From j2 degrees Passes in front by po meters 270 Passes on right by fo meters IV Adjust Volume based on Distance IV Adjust Volume based on Direction 180 Add Del Quality Level Perfect slowest x A Passing Closely Right to Left Passing on Left Passing on Right Rotating Point Source Close Super Sonic Re entr Super Fast Passing Train Whizzing by Left to Right Help dida Doppler Shifter dialog The frequency of the noise from the car starts out at a high pitch and tempo and lowers as it races past you Wh
110. the waveform for the echo trails to complete If the echo abruptly cuts off before it fully decays undo the Echo Chamber effect add several seconds of silence using Adobe Audition s Generate gt Silence command and then rerun the Echo Chamber effect Flanger Flanging was originally achieved by sending an audio signal to two reel to reel tape recorders and then physically slowing down the reels of one machine The resulting sound is a phase shifted time delay effect characteristic of some of the psychedelic sounding recordings in of the 1960s and 1970s If you ve ever listened to Listen To The Music by the Doobie Brothers you ve heard flanging in action Use Adobe Audition to create the same effect by slightly delaying and phasing a signal at predetermined or random intervals ix rho 50 r Delayed 50 r eae Add _Del Initial Mix Delay Km gt fo ms Expand Stereo Final Mix Delay Heath hat baay 4 Bl 2 2 85 ms Hell s Chorus Stereo Phasing ak r DICE Feedback An all Pane Mode Rate T Inverted Frequency 30 Hz Close I Special EFX Period 033 s es M Sinusoidal Total Cycles 54 399 a Flanger dialog Original Delayed Slider Use this control to adjust the mix between the amount of original dry and flanged wet signal If the Original value is at 100 the result is no flanging at all If the Delayed signal is set to 100 the result is a wavering sound rather l
111. the waveform for the reverb trails to complete If the reverb abruptly cuts off before it fully decays undo the Full Reverb effect add several seconds of silence using Adobe Audition s Generate gt Silence command and then rerun the Full Reverb effect Multitap Delay Multitap Delay can be described as a combination of Delay Echo Filter and Reverb effects Up to 10 delay units can be created each with their own delay feedback and filtering settings Multitap Delay E x Delay Units 1 Delay 214 ms at 214 ms Fancy Reverb Gymnasium Interesting Effect Rich Double Tap Separate Bass Treble Echo 2 Delay 226 ms at 338 ms 0 Multitap Delay dialog 214 r Delay Offset 4 Delay 4 Feedback aj H I Allpass Feedback z gt 2143 ms gt 2143 ms gt fest x r Low Cut Filter High Cut Filter Cutoff Boost Cutoff Boost j2 Hz jo dB 500 Hz fo dB Left Only Right On Discrete Stereo c C Stereo Swap ae From Left to Right Bess Close C From Right to Left From Center to Surround Preview Help If one delay unit is placed inside another as viewed in the chart above the controls then the echo will occur more often than just once As audio travels down the delay line represented in the chart by the bottom horizontal arrow pointing to the right portions at any point can be fed back into the delay line anywhere behind the given offse
112. there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Invert Left Right Check this option to reverse the way the graph goes so an upward line spins the field clockwise instead of counter clockwise 115 16 CHAPTER 8 Effects Menu Edit View Ifyou have Adobe Audition s Phase Analysis window Analyze gt Phase Analysis open you can actually watch the stereo field rotate So if your graph is drawn to rotate more and more to the right you ll see the phase rotating clockwise to the left But if you have Invert checked that same graph will now rotate the phase image to the right However you ll actually hear the audio start panning to the right if your graph started at 0 Flat The Flat button resets the graph to its default state by removing all control points Range Use this drop down control to select the y axis display range of the stereo rotation graph from 45 degrees to 360 degrees Loop Graph When this box is unchecked the graphs are the same length as your selection so the dynamic changes to your delay are graphed across the whole selection If you check Loop Graphs the graphs are only as long as specified so they loop repeatedly over the course of the selection Checking Loop Graphs also enables the drop down control that lets you specify Period Frequency Tempo o
113. this button to save additional preset format attribute combinations e Filter is the ACM format you wish to save in Note that this list will display only those formats that are compatible with the current waveform s properties stereo mono resolution etc e Attributes The available attributes will depend on the original attributes of the file sample rate etc and the Filter chosen e Write as RAW Data Check this box to save the waveform as RAW data Amiga IFF 8SVX iff svx The Amiga 8SVX format is an 8 bit mono format from the Commodore Amiga computer A variety of sample rates are supported Options Choose from the following e Data Formatted As 8 bit Signed Check this option to save the audio file in uncompressed 8 bit Signed format which is the default e Data Formatted As 4 bit Fibonacci Delta Encoded With this selection made the file will be saved using the compressed 4 bit Fibonacci Delta encoded format e Dithering from 16 bit If youre saving from a 16 bit file choose the type of dithering you wish Triangular Dither Shaped Gaussian Dither Noise Shaping A or Noise Shaping B No Dithering is the default Apple AIFF aif snd This is Apple s standard wave file format Like Windows WAY AIFF files support mono or stereo 16 bit or 8 bit and a wide range of sample rates Adobe Audition only supports the PCM encoded portion of the data even though this format like Windows WAV can contain any one of
114. to the destination of your choice Export Formats Here you select the desired Export format Below is a detailed description of each e Export as six mono wav files If you want to export to a format that can then be utilized by another audio software or by a software or hardware surround encoder such as to encode your project as Dolby Digital or DTS then the best option is to Export the project either as one interleaved 6 channel WAV file or as 6 mono WAV files The six mono wav files option will create standard Windows PCM wav mono files that typically can be used by any Windows audio application e Export as one interleaved 6 channel wav file The Windows PCM wav format spec also allows for a single file to contain multiple channels of audio however not all Windows audio applications are capable opening or playing back wav files that are not mono or stereo This interleaved 6 channel wav file type is commonly used by many hardware and software encoding systems Choosing this option will save the multichannel session as one 6 channel file following the Microsoft Wave Format Extensible which is also the SMPTE amp ITU specification channel order which is defined as e 1 Front Left e 2 Front Right e 3 Center e 4 LFE e 5 Left surround Rear Left e 6 Right surround Rear Right This channel order is also the typical one utilized as the desired input for Dolby Digital encoders However if you are planning on prepari
115. to any time locations currently listed in the Cue List Adobe Audition displays Cue markers in the Multitrack View as red and blue dotted lines Snap to Ruler Fine Check this option to have the selection or block snap to each subdivision in the current time display format SMPTE Bars and Beats etc along the horizontal time ruler Use this option for more sensitivity in Snapping Zooming in will create further subdivisions to snap to allowing you to Snap To with more precision Snap to Ruler Coarse Select this option to have the selection or block snap to each subdivision in the current time display format SMPTE Bars and Beats etc along the horizontal time ruler Use this option if you don t want too much sensitivity in Snapping Zooming in will create further subdivisions to snap to allowing you to Snap To with more precision Snap to Blocks This option snaps blocks to the beginning or ending points of other blocks The beginning and ending points of blocks become the magnets Snap to Loop Endpoints If you select this option blocks used as loops will snap to the beginning or ending points of other loops The beginning and ending points of the loops act as magnets Snap to Frames Always When Snap to Frames Always is chosen the selection or your cursor is always right on a frame boundary in whatever time format you re in as long as the time format selected is measured in frames such as Compact Disc and SMPTE Th
116. to overlapping except that the values of the two waveforms are multiplied by each other sample by sample instead of added Crossfade Check the Crossfade box and enter a value in milliseconds to apply a fade to the beginning and end of the clipboard data Adobe Audition fades in the first n milliseconds and fades out the last n milliseconds of pasted data Q Use this option for smoother transitions to and from pasted audio From Clipboard n Select From Clipboard n to paste audio directly from the active internal clipboard From Windows Clipboard Choose this option if you want to paste audio from the Windows clipboard If there s no audio data in the Windows clipboard this selection is disabled From File Select this option and press the Select File button to browse for an audio file to paste into the active waveform The Please Choose a Wave File window appears which is similar to Adobe Audition s Open dialog Loop Paste When this box is checked the audio data in the clipboard is pasted the number of times entered Should the clipboard audio be longer than the current selection the current selection is automatically lengthened accordingly Copy to New When this command is run the current waveform or highlighted part of the waveform is copied to the active clipboard and then automatically pasted into a new Wave Display window Insert in Multitrack This command takes the currently highlighted portion of a waveform and inser
117. type full size sample rate and running time Auto Play Check this box to have Adobe Audition automatically play a sound file when you highlight it in the Open a Waveform window This handy feature lets you quickly audition files before you load them into an editing window Keep in mind that you can only play file types that are supported by your system You can also play individual files when Auto Play is unchecked Just select a waveform and click on the Play button in the Open a Waveform window Terminate playback by clicking on the Stop button which replaces the Play button when a sound is playing Note When multiple files are open in the Edit View you can easily select between them holding down the Ctrl Tab keys simultaneously which shifts between open files in the forward direction Use the Ctrl Shift Tab key combination to move between open waveforms in the reverse direction Open As The File gt Open As command is similar to File gt Open except that it lets you specify the sample format before opening a file Think of it as a quick way to make changes to one or more existing waveforms sample rate bit rate and or channel type Since this function doesn t pre filter or post filter the samples you ll get better sounding results when changing sample Q rates by opening the file s normally and using the Edit gt Convert Sample Type function Open Append Use this command to add one or more waveforms to the end of the c
118. undesirable section within a longer audio segment Adobe Audition allows for multiple takes when Punching In you can continually record over the original material and afterward choose between the takes for the best performance or return to the original data Punch In is only available in the multitrack environment ADOBE AUDITION 363 User Guide Quantization Quantization takes place as a part of the analog to digital conversion process as the values of an analog wave are turned into steps Quantization Noise naturally occurs during this time caused by sample levels being changed to conform to standard Quantization levels This noise is heard more often in sounds recorded at low bit resolutions especially at lower amplitude RAM Random Access Memory The memory required to load and run programs This is what you refer to when you say that your computer has 128 megabytes of memory RCA Cable This type of cable sometimes called a phono cable features RCA plugs or jacks at either end RCA cables are normally used to connect stereo system components like receivers CD players and cassette decks Real Time In computer based audio Real Time generally refers to an operation or function s ability to act or react on demand That is there is no wait time for processing to occur but rather things are seemingly done in an instantaneous fashion though this is never really the case when dealing with digital audio as there is always som
119. use in the current Adobe Audition multitrack session You select which tracks and or bus outputs you want to be included in the multichannel mix by checking the box at the left of each track Any track that is unchecked here will be removed from the multichannel preview and will not be included in the export of the multichannel project Panning Tracks and Buses separately Note that if you have routed a track s output to a bus in the Multitrack that you will likely not see that track appear in this track list Instead the bus that the track was assigned to will appear in this track list and the bus output which consists of all track signals routed to that bus can be selected and panned as one mono or stereo signal Additionally it is also possible to access the dry track signal and pan it separately as well This is achieved by going into the Adobe Audition bus tab at the left of the track or into the Adobe Audition multitrack Mixer Window switching to the Bus Mixer tab and adjusting the balance of the wet and dry values Once the dry value is set greater than 0 this creates a selectable track entity that will appear in the Multichannel Encoder Track List the next time you launch it ADOBE AUDITION 331 User Guide For an example consider that track 1 of a session consists of a vocal wav file You might have several other vocal tracks in this session as well and therefore you might add one Reverb effect on Bus A and set each vocal track
120. values normalized values decibels or percentage In Multitrack View use the Vertical Ruler to scroll through tracks as well as to control the number of tracks displayed on screen at once S N Ratio Signal to Noise Ratio S N Ratio is the difference in level between the average signal level and the average level of the noise floor SAM The 8 bit signed wave file format sam is popular for building MOD files since audio in MOD files is 8 bit signed Many MOD editors allow samples to be inserted from files or exported to files in this format 8 bit signed raw format data with the sam extension is assumed to be 8 bit signed raw data with no header The sample rate is assumed to be 22050Hz but the actual sample rate can be changed once the file is loaded using Edit gt Convert Sample Type 364 Sample In digital audio a signal isn t captured in a complete continuous fashion as in traditional recording To digitize a sound a number of snapshots or samples are taken every second this number is a product of the sampling rate used and are changed into numeric representations A sample is a single snapshot of the sound if you will The term sample can also refer to the digitally recorded sound itself though this nomenclature tends to be used more when referring to digitized sounds used by hardware samplers than in computer based audio editing Sample Rate The sample rate determines the number of times per second to take a snapshot of the
121. vocoding while 50 keeps more of the original waveform Q A value of 15 will produce a subliminal effect as it will just barely affect the process wave with the voice Amplification You can set an amplification amount in dB to adjust the final waveform by Usually this can be zero but if the results are too quiet or loud raise or lower this to compensate For ease of use try selecting Window Width and set it to about 90 use 3 or 4 overlays a resynthesis window of 1 or 2 Q and FFT sizes from 2048 to 6400 324 CHAPTER 18 Effects Menu Multitrack View 325 Chapter 19 Options Menu Multitrack View he Options menu contains commands for customizing Adobe Audition s settings for the Multitrack View Loop Mode The Loop Mode option toggles Adobe Audition s Play control between Loop and Play states e When Loop Mode is checked pressing the Play control will continuously loop the current selection or the entire session if nothing is selected e When there is no checkmark the Play control plays the selection or session once and then stops playback Monitor Record Level s Checking this option will activate the Level Meters and start monitoring the recording source which is useful for setting levels before recording To quit monitoring press the Stop control or uncheck Monitor Record Level s on the Options menu Show Levels on Play and Record This item enables or disables Adobe Audition s Level Meters us
122. waveform with separate right and left channels This is usually the best option for a music recording Because they contain twice as much data stereo waveforms consume double the storage space of mono waveforms Resolution Three options are provided e 8 bit creates waveforms where quality is not much of a concern but small file size is 8 bit waveforms are usually fine for telephony applications or for use as embedded sounds in Web pages While they tend to be noisier than their 16 bit counterparts they re half the size 46 CHAPTER 5 File Menu Edit View e 16 bit produces CD quality waveforms This setting is suitable for most broadcast and music recording e 32 bit creates a waveform that lets you work at the 32 bit level One benefit of 32 bit audio is more precise audio processing plus the ability to take advantage of the power in sound cards that go beyond the 16 bit standard such as a 24 bit card Press the Options button in the Edit View s File gt Save As dialog to access 32 bit options Note Although Adobe Audition can create and edit 32 bit files your sound card may not be able to play them properly If that s the case you ll need to convert waveforms stored and processed at this rate to a lower bit rate such as 16 bit for playback To see the capabilities of your system go to Options gt Device Properties Open Use this command to load an existing waveform or CD track into an Adobe Audition editing wind
123. waveform you currently see Triple click in the Wave Display to select the entire waveform whether you can see it all or not Selecting Only the Left Channel Click near the top of the left upper channel to select the left channel only The mouse cursor will acquire a boxed L when you do this Selecting Only the Right Channel Click near the bottom of the right lower channel to select the right channel only The mouse cursor will acquire a boxed R when you do this Waveform View Spectral View The Wave Display offers two ways to represent audio data Waveform View and Spectral View Switch between the two methods using Adobe Audition s View menu ADOBE AUDITION 39 User Guide e Waveform View which is Adobe Audition s default displays audio data drawn as a series of positive and negative peaks Spikes in the x axis vertical indicate increased amplitude and the y axis horizontal represents time A 15 second stereo wav file displayed using Waveform View e Spectral View displays a waveform by its frequency components where the x axis is frequency and the y axis is time This allows you to analyze your audio data to see which frequencies are most prevalent The greater a signal s amplitude component within a specific frequency range the brighter the displayed color will be Colors range from dark blue which means that next to no amplitude components exist in this frequency range to bright yellow meaning
124. will be used during convolution e Volume If the convoluted audio comes out too soft or too loud enter an appropriate value to amplify or attenuate the audio e Shift This value is generally set to one half the FIR Size when building impulses from scratch to compensate for the delay incurred when the minimum delay used was only one half the FIR size Adjust this shift setting if you find that the convoluted audio is migrating too far to the right with respect to the original audio 177 178 CHAPTER 8 Effects Menu Edit View View Settings These settings affect the impulse display e Left Select this button to enable display of the impulse for the left channel only e Right Click this button to enable display of the impulse for the right channel only e View Both Selecting this button enables display of the impulse for both the right and left channels e Normalized View If this option is checked the impulse s amplitude is displayed so that it exactly fits in the display vertically Preview Press the Preview button to audition the current Convolution setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Distortion Use this function to create effects such as a blown car speaker a muffled microphone and an overdriven amp
125. words of the production piece goes here It might be member FDIC sale starts tomorrow or music up and cold e Start Date In this field type in the date the audio production is scheduled to begin airing e End Date This is where you enter the date the audio production is supposed to end its run e Intro Time ms begin The production piece s introduction time measured in milliseconds from the beginning of the audio file goes here e Sec Tone ms end Enter the time measured in milliseconds from the ending of the audio file where the secondary tone a k a the trip tone appears This tone is used to automatically start the next audio element when used in an automation system e Producer Who produced this piece of audio The name of the producer goes here e Talent Enter the name of the person s who voiced this audio production such as Joe Jock Vicki Voiceover or Bill Baritone amp Susan Soprano e Category This field is for the category this audio production belongs in Examples include Auto Dealer Financial e Institution Promo and Stager e Agency Here s where you enter the name of the advertising agency or production house e Account Fxecutive The name of the salesperson in charge of the advertiser s account goes here e Creation Date This field should contain the date that the subject matter was created The date should be in the fo
126. you can adjust the priority level of the background mixing process done in a multitrack session Lower values indicate a higher level of priority above other system events Fractional numbers such as 0 8 may be used The default setting is 2 225 226 CHAPTER 12 Options Menu Edit View e Open Order This setting determines the order that the sound card device drive will be opened for use in the multi track environment Because the multitrack environment requires full duplex capability it will open or ready both playback out and record in on the card Some cards require this order to specific but most don t Note Owners of the Digital Audio Labs CardD should set this option to Rec Play Owner of Sound Blaster cards should set this option to Rec Play e Start Order After opening each device driver see Open Order this setting determines the order that the sound card device drive will be started in the multitrack environment Because the multitrack environment requires full duplex capability it will start both playback out and record in on the card Some cards require this order to specific but most don t Note Owners of the Digital Audio Labs CardD should set this option to Play Rec Owner of Sound Blaster cards should set this option to Rec Play Mixdowns When performing a mixdown this is the bit resolution that will be used Regardless of the session format 16 bit or 32 bit mixdowns can be generated a
127. you can select the vowel O to be used as the profile Processing this vocal file remember it s best to process a copy of the original file will then reduce or eliminate the O sounds thereby creating a rather wild effect Great effects can be generated by setting the noise level to some valid signal component in the waveform and not the background noise Whatever frequencies are present in the highlighted selection when Set Noise Level is chosen will be removed when the reduction level is set to 100 Here s the most common way to use Adobe Audition s Noise Reduction function 1 Record or open a piece of music that has tape hiss or other background noise 2 Select a short range at least one half second that contains only the noise that you d like to reduce 3 Choose the Effects gt Noise Reduction gt Noise Reduction option and click on Get Profile from Selection to sample the noise 4 Click on Close 5 Select the entire file or the portion you want to noise reduce 6 Go to Effects gt Noise Reduction gt Noise Reduction again 7 Click on OK to perform the noise reduction Special ADOBE AUDITION User Guide The options in this menu can be used to introduce some processing effects that are both innovative and wild n wacky Have fun and experiment Convolution Convolution is the effect of multiplying every sample in one wave or impulse by the samples that are contained within another waveform In a se
128. you more precise control over the track s EQ 245 246 CHAPTER 13 Navigating the Multitrack View Pen Eee TERT mm Track Controls set to the EQ Tab Note The Track Equalization Fields normally show up only in the EQ area but will appear under the Vol tab if your Track Controls area is sized large enough EQ AandEQ B Buttons These buttons allow you to quickly switch between two different banks of equalization param eters A single click on the EQ A button changes it to an EQ B button thus bank switching the EQ settings and allowing you to A B two sets of equalization parameters By default the setting for the EQ B button is flat so you can A B against no equalization at any time by just clicking that button However if you make EQ modifications while the EQ B button is active those settings are preserved This allows you to A B any two settings you want To force both banks to be equal to the current settings double click on the EQ A or EQ B button Q Right click on either button to bring up the EQ Presets dialog which is fully documented later in this chapter Wet Dry Fields If a track s output is set to a Bus the Wet Dry Fields are enabled and display the bus wet and dry percentages Change the field s percentages by left clicking on it and sliding your mouse horizontally or vertically ADOBE AUDITION 247 User Guide jj BUSA RecN Track Controls set to the Bus Tab Note The
129. your mouse cursor over the horizontal ruler and right click A menu pops up with two options e Select Zoom Out to get back to the previous view displayed before performing the last zoom in e Choose Zoom Out Full to display the entire horizontal waveform or selection in the Frequency Analysis window Zooming Amplitude Ruler To zoom in on the Frequency Analysis window s y axis vertical ruler the one that measures the amplitude of a frequency place your mouse pointer over the ruler Then right click and drag to select the area you wish to zoom in on You ll notice that your pointer turns into a magnifying glass Release the right click button and the zoom in occurs To navigate a zoomed in frequency amplitude display put your mouse pointer over the vertical ruler the pointer then changes into a hand Left click and drag the hand horizontally to scroll the current zoom range up and down To zoom out place your mouse cursor over the vertical ruler and right click A menu pops up with two options e Select Zoom Out to get back to the previous view displayed before performing the last zoom in e Choose Zoom Out Full to display the entire vertical ruler in the Frequency Analysis window Show Phase Analysis This command displays Adobe Audition s Phase Analysis window Using a Lissajous Plot graph it lets you easily see any phase differences between the channels of the current waveform Phase as used here is the amplitude d
130. 0 cause the sweep to occur at increasingly distant intervals between the left and right channels A value of 180 yields a complete difference Both positive numbers from 1 through 359 and negative numbers from 1 through 359 may be entered in this field A low negative number such as 45 is the same as a high positive number 315 In other words 180 and 180 are the same value 90 and 270 mean the same thing and 5 and 355 refer to the same amount of degrees Sweep Modes These settings determine the shape of the filter sweep used e The Sinusoidal and Triangular options determine if the sweep will follow a sine or triangle curve Triangle curves will tend to be sharper e The Log Frequency Sweep and Linear Frequency Sweep options determine if the sweep will be done in a logarithmic constant fashion or an even linear fashion Filter Type With the Band Pass option selected all variation is done around the frequency designated by the Center Frequency slider If you choose the Low Pass option the Sweeping Phaser effect will keep everything from the specified Center Frequency down Note Most folks will want to use the Band Pass option since it gives you the traditional sound of a sweeping phaser Master Gain This value adjusts the overall volume output You can compensate for loss or excessive gain introduced by the effect by entering an overall master gain measured in dB to be applied to the resulting audio The default value of
131. 100 mean a right pan Title The default title of the selected track such as Track 3 appears in this editable field You may rename the track by highlighting the text in this field and typing over it Note that the name of the Track Tab changes accordingly ADOBE AUDITION 293 User Guide Output The item shows where the track will be output to such as a sound card or bus If you have more than one output device in your system you can select it from the drop down list Record The device such as a sound card that this track will record through to is shown here If your system has more than one recording device you can select it from the drop down list Channel Use this drop down list to decide if you want this track to be Left Only Right Only or Stereo Bit Rate Here s where you select whether you want the track to be 16 bit or 32 bit An Adobe Audition session can contain a mix of 16 bit and 32 bit tracks Effects Press the FX button to bring up the Effects Rack for that track Lock If the track has one or more real time effects applied to it this button locks the track Bus If you ve added this track to a bus the Wet and Dry percentages are shown here You can left click and drag on these boxes to adjust these percentages EQ The Low L Mid M and High H equalization values of the track are displayed in these three fields You can adjust the EQ level of one of these fields by left clicking on it and
132. 18 Favorites Pane asec cshuirdaey Ee NEE EE 19 Wave Display Session Display oo eee eee eee eee eee 19 iv CONTENTS Chapter 3 Chapter 4 PRESets ws ckkadbengnseeerarseisee E REE EE ENESE S Graph Controls lt snwricescinaydsagatyaesse EA Aao Transport Buttons snccenscescnderaeiets aie RERA ENNA EevellMeters dcccakcda vorsinn enone E E eee teas ShOW ValleyS iecccisaiidagausetees Gd E N ZOOM BUTTONS se chasan aries eo ene dsase he giecemae aide E ae TIMeG WINdOW erorar iome EE R ER Sel View Controls sonso bes eE N EA EARRAS Status Bar siseetiaksatieeeis cea oraeiasdesmewa eae E a Window Menu Edit View 0 Tese ERNEA URS Wave File Formats Supported by Adobe Audition 64 bit doubles RAW dbl eee cece eee cece eee eee ee B bitsigned sam arrera eea eatin E A ETATE A mu Law Wave wav os se eee eee eee e eee eect eee e ne eenene ACM Waveform Wav oo es eee eee ete cece tect een tent ene eenene Amiga IFF 8SVX iff SVX ok e cece een ee ene eee cnet eee eeeees Apple AIFF aif snd ccc asiciceaseesseceuiss cant ceeseleedebiae s ASCII Text Data Akt ix caedetieerones AR AEE EANA stage cee Audition Loop cel chccisidctcekane sienna siete ss at a epa Creative Sound Blaster VOC se eee eee eee ee eee eee neces Dialogic ADPCM VOX perrieri menni tenine aaaeei DiamondWare Digitized dwd 0 eee eee eee eee eens DVI IMA ADPCM wav oes ee eee e eee eect n eee e a a Microsoft ADPCM wa
133. 1kHz or you can boost the low frequencies while simultaneously inserting a 60 Hz notch filter Adobe Audition s Parametric Equalizer uses IIR filters second order which are very fast and can give very precise resolution even at the lower frequencies For instance it s easy to boost just the bass at 40Hz to 45Hz Graph The graph depicts frequency along the x axis left and right and amplitude along the y axis up and down with the curve representing the amplitude change at specific frequencies Frequencies in the graph range from lowest to highest in a logarithmic fashion evenly spaced by octaves Low Shelf The slider directly to the left of the graph determines the Low Shelf amplitude in dB To increase or decrease the lows bass at any time just adjust the slider or enter a dB level in the box at the bottom of the slider 156 CHAPTER 8 Effects Menu Edit View Low Shelf Cutoff High and low pass filters cut the extreme high or low end of the audio spectrum The low pass so named because it allows the low frequencies to pass while reducing the highs is often used to reduce hiss amplifier noise and the like To fine tune the range of frequencies being boosted or cut adjust the Low Shelf Cutoff slider located directly below the graph or enter a specific frequency in the box to the right of the slider High Shelf The slider directly to the right of the graph determines the High Shelf amplitude in dB To increase or decrease t
134. 2 Panning Mode 226 Panning slider 292 Parametric equalizer 155 Paste 62 Paste to New 62 Pattern 299 Pause Background Mixing 327 Pause button 22 PCM 36 PCM Raw Data 36 Peak Amplitude 200 Peak Cache Files save 222 Peak Files 221 Peak mode 107 Peaks Cache 222 Percentage 88 Percentage Clip 71 Perception 131 140 Phase Analysis show 197 Pink noise 191 Pitch Bender 183 Pitch Shift preserves tempo 186 Placekeeper show 86 295 Placekeepers 15 Play button 22 Play List show 84 Play Looped button 23 Play to End button 22 Play Record 225 Play Record Buffer 217 Playback Buffers 225 Playback Devices command 253 Playback Devices tab 233 Plextor D8 50 Plot Style 221 Point cue 80 Pop Oversamples 165 Popup Menu 216 Portion bar 289 Portion Bar Horizontal 39 248 Portion Bar Vertical 243 Possibly Clipped Samples 200 Post Filter 224 Pre Post Filter 76 Pre Filter 223 Premiere Pro moving files to and from 9 Pre Mixing 226 296 Presets 20 51 Preview Buffer 217 Preview Buffer Size slider 338 Preview Device selection 337 Preview Format Selector 338 Preview Volume slider 336 Properties 233 234 235 236 287 Pulse Train Verification 164 Punch In 306 Punch In option 264 Q Q Bandwidth tab 145 Q box 133 Q values 255 291 Quick Filter 157 QuickVerb 138 R Rack Settings command 252 Range cue 80 Range Boundaries changing 38 Ranges defining 38 241 RAW 29 36 Read Method 50
135. 2 bit realm if you re using the Equal power Sinusoidal panning method Set As Default If youve changed the Pre mixing and or Panning settings press this button to have Adobe Audition remember them as the default settings Note Adobe Audition s default settings for Multitrack View are under the Multitrack tab of Options gt Settings Tempo Tab x General Mixing Tempo Metronome Notes Tempo Offset Cursor At 1 1 00 Reset 1 1 to Cursor 120 beats minute Ease Song Start 16 ticks beat 0 ms Cancel Help The Tempo tab of the Advanced Session Properties window Tempo The tempo of the session is specified here Any loops that have a tempo specified will be time stretched to match the session s tempo The time stretch method used is determined by the individual loop s settings If you need more detailed tempo settings right click on the horizontal ruler in Adobe Audition s Session Display e Beats minute Enter the number of beats per minute here e Beats bar Input the desired number of beats per bar in this field e Ticks beat This field is where you can specify the amount of ticks per beat Offset Choose from the following 298 CHAPTER 15 View Menu Multitrack View e Cursor At This shows the current position of the cursor in bars and beats format You can also enter a new cursor position here and Adobe Audition will recalibrate the session including negative time This is so you ca
136. 221 Linear Fades 99 Linear PCM 34 Live update during recording 215 Load Meter show 294 Lock button 245 288 293 Lock for Play Only 267 304 310 Lock in Time 267 304 310 Lock Left Right 63 99 Logarithmic Energy Plot 221 Logarithmic Fades 99 Look in 47 274 276 Loop 92 Loop Duplicate 265 308 Loop Info tab 92 Loop Mode 207 325 Loop Paste 64 Loop Properties 258 301 Loud 71 Low Pass 143 145 159 Lower Hard Drive Reserves 58 M M S button 286 Make Point 82 Make Range 82 Mark Deletions in Cue List 66 Master Level slider 337 Maximum Recording Time 207 Maximum RMS Power 201 Merge button 83 Merge This Take 302 Merge Rejoin Split 267 310 Merging 226 Metronome 284 327 tab 298 Microsoft ADPCM 33 MIDI Blocks 263 listing active tracks 262 setting tempo 262 transposing key 262 zooming in and out 262 MIDI from File 250 315 MIDI In tab 232 MIDI Input Devices tab 236 MIDI Out tab 231 MIDI Output Devices tab 235 MIDI Panic Button 325 MIDI tab 253 287 MIDI Trigger 352 MIDI Trigger Enable 208 325 Minimum RMS Power 201 Misc tab 96 Mix Down to Empty Track N 305 Mix Down to File 263 305 Mix Down to Track Bounce command 251 Mix Gauge 8 247 Mix Paste 43 63 Mixdown s 226 saving with video file 263 Mixdown s save as 277 Mixers Window show 284 Mixing tab 296 MMC Read CD 50 Modulate 64 194 Modulate By 193 Modulation Frequency 193 Monitor Record Level s 24 208 325 Mou
137. 3 3 and 12 dB as shown above The defaults are usually good settings for most files but you can enter any value in any of these 3 fields between 0 and 144 dB as desired Opening Encoded and Exported files back in Adobe Audition Once you have performed your Export from the Multichannel Encoder dialog and created the new WMA or WAV file s you may wish to open the files back into Adobe Audition Adobe Audition is capable of opening 6 channel WMA or WAV files To open a multichannel file in Adobe Audition s Edit View simply go to File Open as usual and this will open the multichannel file as six mono files Note 6 channel WMA files will only open as 6 mono files in Adobe Audition if you are running on Windows XP If you are using Windows 98 Me 2000 the 6 channel wma files will be automatically folded down to a stereo file utilizing the Fold down to stereo parameters mentioned in the previous section This is a restriction of the Windows Media file format imposed by Microsoft on these operating systems This restriction is not imposed on 6 channel WAV files Once these 6 mono files are created within Adobe Audition they can then be edited and saved back as just as any mono file within any audio application that supports wav files If you wish to use Adobe Audition to save the files back as one single interleaved multichannel WMA or WAV you can open the exported 6 channel file in Adobe Audition This will automatically split the file into six mo
138. 4 Transport controls 336 Transpose 304 Triangle 194 Trim 66 268 311 Trim Digital Silence 69 Trim option 43 TXT 31 U Undo 217 301 Undo History 58 Undo about 61 Undo Redo enable 61 Upsampling quality level 223 v Valleys show 24 Vertical Portion Bar 243 Vertical Ruler 40 Vertical Scale Format 88 Video from File 250 315 Video Window show 295 VOC 32 Vocoder 322 Volume 298 Volume Envelopes show 281 Volume slider 292 303 VOX 32 w WAV 29 30 33 35 Wave Block Properties 303 dialog box 261 Wave Cache 217 Wave Display 19 Wave Display Right Click Menu 42 Wave Display navigating 38 Wave from File 250 315 Wave In tab 230 Wave Out tab 229 Wave Pan adjust 302 Wave Properties 89 Wave Volume adjust 302 Waveform edit 301 new 45 open 46 275 315 save as 52 Waveform Display 221 Waveform Statistics 199 Waveform View 38 79 edit 281 Wet Out 120 Wet Dry Fields 246 288 Wet Dry Mix Envelopes show 282 White noise 191 White Progress Background 220 Window Menu Edit View 28 Windows Media Audio 35 Windows PCM 35 Windows Recording Mixer 209 327 WMA 35 Z Zero Crossings 66 Zoom Buttons 25 Zoom Buttons show 85 294 Zoom Factor 215 Zoom in Zoom out 304 ADOBE AUDITION User Guide 375 376 INDEX
139. 50 ms Run Normalize After adjusting the parameters to your preferences press the Run Normalize button to close the Group Waveform Normalization dialog and perform normalization on all selected waveforms Adjust Sample Rate Use this command to bring up the Adjust Sample Rate window It lets you play an audio file at any sample rate that is supported by your sound card Keep in mind that this command doesn t let you actually convert the audio file yowll need to go to Edit gt Convert Sample Type for that However it does let you hear what the current waveform would sound like at a different sample rate 74 CHAPTER 6 Edit Menu Edit View Adjust Sample Rate a x m Sample Rate r Channels r Resolution Mono C Bbit s 16 bit 32bit float FYI This just changes the sound card playback rate To resample the existing audio to a new sample tate use Convert Sample Type Cancel Help Adjust Sample Rate Dialog Choosing a higher sample rate results in Adobe Audition playing back the file at higher pitch think chipmunks while selecting a lower sample rate results in a lower pitched sound think drunk Darth Vader Sample Rate The sampling rate you choose determines the overall bandwidth how many frequencies can be encoded within the audio signal Higher sampling rates yield a wider bandwidth You may enter any sample rate directly or choose a common sam
140. 6 CHAPTER 20 Multichannel Encoder Transport Controls I4 Play Track Transport Controls Rewind to Start This left arrow button will place the cursor back at the start of the track Play Track This starts preview playback from the cursor location and only plays the currently selected track Playback will always play to the end of the track regardless of the current zoom level Play All This starts preview playback from the cursor location and plays the multichannel mix with all tracks that are checked in the Track List Playback will always play to the end of the session regardless of the current Zoom level Preview Volume Slider i ee Preview Volume 4 SS ae 83 2D 4 6D Preview Volume Slider Controls the volume of the preview playback note that this slider will not change the amplitude of the exported WAV or encoded WMA files that are created from the Multichannel Encoder nor will it affect the levels measured by the 6 channel Output Meter Use the Master Level slider for that use This slider should be used to adjust your playback volume without affecting the amplitude of the exported files Output Meters 1 1 DERESE 30 20 10 0 Output Meters This set of six meters displays the output of each of the channels during Preview During Play Track the meters will display the output of only the selected track and during Play All the meters will display the output of the complete 5 1 mix These levels a
141. Adobe Audition User Guide 7 N Adobe Legal Notices Copyright 2003 Adobe Systems Incorporated All rights reserved Adobe Audition User Guide for Windows If this guide is distributed with software that includes an end user agreement this guide as well as the software described in it is furnished under license and may be used or copied only in accordance with the terms of such license Except as permitted by any such license no part of this guide may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording or otherwise without the prior written permission of Adobe Systems Incorporated Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement The content of this guide is furnished for informational use only is subject to change without notice and should not be construed as a com mitment by Adobe Systems Incorporated Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner Please be sure to obtain a
142. Auto play on command line load Live update during recording I Auto scroll during playback and recording Upon a manual scroll zoom selection change Abort auto scrolling until next play record Resume auto scrolling only after play cursor enters view Resume auto scrolling immediately m Mouse Cursor Over Display C Arow Beam m Edit View Right Clicks Popup Menu use Shift Click to extend Extend Selection hold Ctrl for popup menu Custom Time Code Display 75 frames sec Default Selection Range s View Cancel Restore Default Window Layouts Entire Wave m elp The General Tab of the Settings Dialog Show Tip of the Day When this box is checked a tip about program operation is displayed whenever Adobe Audition is launched If yowd rather not see a tip when Adobe Audition loads uncheck this box ADOBE AUDITION User Guide Use shiny look If youd prefer that certain elements of Adobe Audition s interface toolbar buttons mostly take on a flatter look uncheck this box The flat look will take effect the next time you start Adobe Audition While there aren t any performance benefits to not using the default shiny look Adobe Audition might look better if your video display is set to 256 colors Auto play on command line load When launching Adobe Audition checking this option will automatically play a file that has been specified on the command line For example if you g
143. Bandwidth defines the lower frequency transition Pass Ripple Actual Ripple Some high order filter types give you the ability to choose the maximum allowable amount of ripple Ripple is the effect of unwanted boosting and cutting of frequencies near the cutoff point Stop Attn The Stop Band Attenuation control determines how much gain reduction is to be used when removing frequencies Master Gain After the filter settings have been adjusted the overall volume level might be too loud or too soft You can compensate for this by entering an overall master gain measured in dB for both the left and the right channels to be applied to the resulting audio Presets Adobe Audition comes with several Scientific Filter presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Scientific Filter setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Noise Reduction The effects in the Noise Reduction menu can be used to reduce background noise and general broadband noise without having an adverse effect on the overall quality of the originally recorded signal Click Pop Eliminator ADOBE AUDITION User Guide The Click Pop Eliminator works by searching fo
144. Basic cues in the Cue List e Find Beats and Mark Scans the highlighted area marking beats as Beat cues in the Cue List uto Cue Settings eS m Audio will be considered silence when gt Signal is below EE dB Find Levels For more than 140 ms m Audio will be considered as valid when Ca Ca Signal is above 34 dB ER ane For more than 25 ms Help Auto Cue Settings Dialog e Auto Cue Settings Choose this option to customize the way the Auto Cue function works Here are the major compo nents of the Auto Cue Settings window e Audio will be considered silence when Enter the amplitude value in decibels you wish Adobe Audition to consider as the maximum level for Silence in the Signal is below box The duration in milliseconds of this maximum amplitude value should be entered in the For more than box Note For very quiet high quality audio the dB value will be lower like 60 dB For noisier audio the value may be much higher such as 30 dB Use higher values in the seconds box to keep groups of words together for example e Audio will be considered as valid when Enter the amplitude value in decibels you wish Adobe Audition to consider as the minimum level for Audio in the Signal is above box The duration in milliseconds of this minimum amplitude value should be entered in the For more than box Use higher values for the second box to ignore short periods of undesired audio li
145. Better than FM Radio Quality standard broadcast rate ADOBE AUDITION 75 User Guide e 44 100 Hz CD Quality e 48 000 Hz DAT Quality e 96 000 Hz DVD Quality Non standard sample rates can be entered directly into the numeric sample rate window Channels This setting is disabled in Adjust Sample Rate Resolution This setting is disabled in Adjust Sample Rate Convert Sample Type This function converts the sample rate bit rate and channel format of an audio file that s currently loaded in Adobe Audition into a new format type such as 44 kHz 16 bit stereo to 22 kHz 8 bit mono Unlike Edit gt Adjust Sample Rate Convert Sample Type directly processes the samples within the file or re samples the data so that the audio retains the same pitch and duration as the original file Convert Sample Type x Convert from 44100 Stereo 16 bit to m Sample Rate Conversion Presets LO O Ci Delete Sample Rate y Channels Resolution 44100 Hz Mono I6 bit C Stereo 8 Left Mix fi 0 4 32 Right Mix fo Dither IV Enable Dithering Dither Depth bits 154 Low High Quality eal e x gt 150 3 Cancel Pre Post Filter Noise Shaping A Help Convert Sample Type Dialog You can choose various levels of conversion quality Changes in overall and relative L R volume levels may be easily made when converting between mono and stereo formats The Dither option allows you to redu
146. Cues Use this option to allow a selected waveform to snap to a defined Cue point See the View gt Cue List section of this guide for information on how to define Cue points Snap to Ruler Coarse This option allows the selected waveform to only snap to the major numeric divisions decimal SMPTE samples etc in the timeline window If you need more precise snapping check Snap to Ruler Fine which is described below Snap to Ruler Fine Select this option to allow the selected waveform to snap to each of the subdivisions decimal SMPTE samples etc within the timeline window Zooming in on the timeline which is done by right clicking and dragging within the timeline across the desired waveform area will generally break the display down into more accurate subdivisions This lets you place a waveform more accurately within the timeline Snap to Zero Crossings Choose this option to have the waveform snap to the nearest place where the waveform crosses the center line in other words the zero amplitude point Snap to Frames Always When Snap to Frames Always is chosen the selection or your cursor is always right on a frame boundary in whatever time format you re in as long as the time format selected is measured in frames such as Compact Disc and SMPTE This option is especially handy for working on audio for CD Q Snapping settings may be easily accessed by right clicking on the timeline Group Waveform Normalize G
147. Delete The Cue Handle context menu The Cue Handle context menu has these commands e Go To Cue List Accessing this command displays the Cue List or if the Cue List is already displayed makes it the active window e Change Cue Type Use this entry and its submenu to change a Cue from one type to another A checkmark designates the current Cue type e Make Range If the Cue is already a point cue this command turns it into a range cue The Cue Handle is split into two handles one yellow and one blue Drag either or both to set the beginning and ending times of the range Note Adobe Audition automatically makes the second point of a cue range the end even if you move the ranges around e Make Point If the Cue is a range cue this command turns it into a point Cue The two parts of the range Cue Handles are merged into a point Cue Handle with the start time of the range becoming the time for the point Cue e Delete This command deletes the Cue removing it from both the Cue List and the Wave Display Here are the major components of the Cue List window Column Bar The column bar runs along the top of the Cue List window It behaves similarly to the column bar in a Windows Explorer window Along with telling you the type of data in each column Label End Begin etc you can click on a column header to sort the data in that column For instance a left click on the Length column header will place all of the items in the Cue List f
148. Display or Session Display You can zoom in down to the point where the sample of each waveform can be clearly seen or zoom out to get a complete visual overview of the entire waveform or session lejal EA A Zoom Buttons The Zoom Buttons window is a dockable window allowing you to reposition it at one of several places in the Adobe Audition interface Or you can even detach the Zoom Buttons window and have it float above Adobe Audition s main window To close the Zoom Buttons window when it s floating click on the X control in its title bar To get rid of the Zoom Buttons window when it s docked right click on its grab bar and select Hide from the pop up menu Or you can simply uncheck the Show Zoom Buttons item on the Edit menu to close it in either docking or floating mode The following items are included within Adobe Audition s Zoom Buttons Zoom in to Center Click this button to zoom in on the center of the visible waveform window or session Zoom Out Click this button to zoom out from the center of the visible waveform window or session Zoom Out Full Click this button to zoom out to display the entire waveform or blocks that are contained within a session Zoom to Selection Click this button to zoom in on the actively selected waveform or session range 26 CHAPTER 2 Looking at the Work Area Zoom to Left Selection Click this button to zoom in on the left hand boundary of the actively selected waveform range
149. E W Beethoven s Symphony No 9 Scherzo wma Cue 1 Cue 2 Insert Into Multitrack Dialog To place an item from the list at the session window s insertion point just click on it If you want to insert an item anywhere in the session window just drag it off the list and drop it on the desired track No matter which insertion method you choose the Insert into Multitrack window automatically closes Chapter 18 Effects Menu Multitrack View his menu contains all of Adobe Audition s exclusively multitrack effects Envelope Follower The Envelope Follower varies the output level of one waveform based on the input level of another The amplitude map or envelope of one waveform the Analysis wave is applied to the material of a second waveform the Process wave which results in the second waveform taking on the amplitude characteristics of the first waveform This lets you for example have a bass guitar line which only sounds when a drum is being hit In this example you would have the drum waveform as the Analysis wave and the bass guitar waveform as the Process wave x Analysis Wave Process Wave Output To GTRbak ZI organ BA New Track 3 Gain Processor z I Spines Output Gain 0 Attack Time fo ms Release Time 500 ms T Joint Channels Level Detector Input Gain 0 Attack Time 5 ms Release Time foo ms Peak C RMS Low Cutoff 0 Hz High Cutoff 24000 Hz Lookahead Time 3 ms Flat
150. ER 11 Favorites Menu Edit View 207 Chapter 12 Options Menu Edit View he Options menu gives you access to Adobe Audition s configuration options system settings batch processing functions and more Loop Mode The Loop Mode option toggles Adobe Audition s Play control between Loop and Play states e When Loop Mode is checked pressing the Play control will continuously loop the current selection or the entire file if nothing is selected e When there is no checkmark the Play control plays the selection or file once and then stops playback Timed Record This option can be used to set a finite time limit allowed when recording or to specify a time when Adobe Audition will auto start and stop recording With the Timed Record option checked pressing the Record control on the transport toolbar will bring up a dialog box prompting you to enter the recording time xi Maximum Recording Time No Time Limit Recording Length 0 00 30 00 Start Recording C Right Away i OK At 9 00 AM on 08 30 2001 C Ahr C dd mm pyyy Carcel 12h mm dd yy Help Timed Record Dialog Maximum Recording Time e No Time Limit Select No Time Limit and Adobe Audition will record until you tell it to stop or when it runs out of free hard disk space e Recording Length If the Recording Length option is selected Adobe Audition will record for the period of time entered in the Recording Length text box Whe
151. Encoded and Exported files opening 343 End Date field 91 Engineers field 90 Entire Wave 65 216 ADOBE AUDITION 369 User Guide Envelope Editing enable 283 Envelope Follower 317 Envelopes 109 269 EQ 293 EQ A and B buttons 246 EQ button 286 EQ Loud 71 Equalization fields 289 Equalizer Track 254 Equal power Sine 226 Equal power Sinusoidal 297 Error Correction 51 Execute Relative to Cursor 210 Exit 59 280 Expand Collapse arrows 290 Export options 339 Ext Controller tab 232 Extend Selection 216 Extract 87 Extract Audio From CD 48 Extract Audio from Video 48 Extract from Selection 87 F Fast Forward button 23 Favorites Pane 19 Favorites edit 203 Feedback 118 129 136 Feedback Graph 123 FFT Filter 146 File Info tab 96 File Name 47 52 File name 274 276 278 File Cue List 316 File Cue List command 250 Filename Prefix 83 Filename Path 303 370 INDEX Files 53 Files Pane 17 Fill Fields Automatically 90 91 92 Filters 144 Final Amplification 99 Final Mix Delay 129 Find Beats 67 Find Levels button 66 68 Find using Analysis button 95 Fine Tune 95 Fixed Length 93 Flanger 128 Flavor 194 Flush Virtual File 57 Force complete flush 218 Format new 55 Free Up Space 57 279 Frequency Analysis show 195 Frequency Band Splitter 320 Full option 268 Full Paths button 18 Full re syne when shuttling 228 Full Reverb 130 Function tab 204 FX button 245 286 FX Parameter Enve
152. Have fun making your audio sound really really bad Of course it s great for adding fuzz to guitar licks to get that authentic heavy metal sound Distortion e x Positive Negative J Symmetric Presets Add Del Cover and Distort Distort Bass Flat no distortion Light Grunge Maximum Jam Mondo Messed Up Sharp Fuzzzz Super Loud Tube Drive OK Close Cancel I Bypass Preview Help IV Spline Curves diigi Distortion dialog Positive Negative Tabs You can specify separate distortion curves for positive and negative sample values Select the tab corresponding to the distortion curve you want to display If the Symmetric box is checked these tabs become inactive and are marked Symmetric ADOBE AUDITION 179 User Guide Copy from Positive Press the Copy from Positive button available in the Negative tab to copy the positive curve to the Negative window Symmetric If Symmetric is checked the positive and negative curves are identical To specify separate Positive and Negative curves uncheck Symmetric and choose the appropriate tab Distortion Graph This graph depicts the input sample value in dB along the x axis left and right and the output sample value in dB along the y axis up and down A line that flows directly from the lower left to the upper right which is the default depicts a signal that s been left untouched since every in
153. Hide menu option Or uncheck Show from the Status Bar submenu item on the View menu Note More information on the Status Bar can be found in the Looking at the Work Area chapter 296 CHAPTER 15 View Menu Multitrack View Advanced Session Properties This command brings up the Advanced Session Properties window a tabbed dialog that lets you adjust several param eters of your multitrack session as well as store additional session based information within your session file General Tab Advanced Session Properites x General Mixing Tempo Metronome Notes a Frames formatting is hh mm ss ff ddd 0 01 567 Decimal formatting is hh mm ss ddd E Start Time Offset Key for Voiced Loops 5 If a loop has an associated key it will be D ne transposed to match the session key _ Cancel Help The General tab of the Advanced Session Properties window Session Start Time Offset Here you can enter a time offset which is the time location that Adobe Audition will wait for to begin playback Locations must be entered in the format of hours minutes seconds frames divisions or hours minutes seconds division if not being used with SMPTE Key for Voiced Loops This specifies the session s key Any loops that have a key specified will be pitch shifted to match the session s key Mixing Tab x General Mixing Tempo Metronome Notes Pre Mixing 16 bit Set As Default 32 bit default Panni
154. Invert 59 4 dB gt 7 2 dB r T exp 1 1 98 above 11 8 dB Presets Aad Del BP 1378 below 118 I ox icmp 24 1 below 23 2 dB cmp 1 09 1 below 61 6 dB Close dudi Envelope Follower Dialog In addition to applying an amplitude envelope to a waveform you can also alter the dynamic properties of the result with a variety of settings to otherwise expand gate compress or limit the resulting signal To initiate Adobe Audition s Enveloper Follower effect e Position the wave blocks so that the sections you want to process together are lined up e Make a selection that covers the part of both wave blocks you want to process 318 CHAPTER 18 Effects Menu Multitrack View Ctrl Left click each wave block you wish to process to give them focus Access the Envelope Follower from the Effects pull down menu the Effects toolbar or the Effects section of the Organizer window The following are the major components of the Enveloper Follower dialog Analysis Wave Choose the waveform from which to read the amplitude envelope Any waveform in the session window may be selected from this drop down list Process Wave Select the waveform containing the material to apply the amplitude to Any waveform in the session window may be chosen from this drop down list Output To Choose the track to output the resulting waveform to This entry defaults to the next available track
155. Loop files are essentially MP3 files with a cel extension but with a header that contains two important items The first is the loop info just as it s saved with a wav file and is set under View gt Wave Properties gt Loop Info This includes number of beats tempo key and stretch method The cel file also works to avoid a problem with MP3 files It s in the nature of MP3 files that a very small amount of silence is added to the beginning and or end of an MP3 file when it s encoded This is very short and often only a few samples long When working with a loop though it s enough to throw the entire loop off 32 CHAPTER 3 Wave File Formats Supported by Adobe Audition As it saves a cel file Adobe Audition calculates how much silence is going to be added to the MP3 file and writes this information into the cel header Then when Adobe Audition loads a cel file it reads this silence information and automatically removes the silence from the file so that it ll loop smoothly Options The file saving options are identical to the ones for mp3PRO mp3 files which are documented later in this chapter Creative Sound Blaster voc This is the Sound Blaster and Sound Blaster Pro voice file format Adobe Audition supports both old and new style voc files The older voc format only supports 8 bit audio mono to 44 1 kHz and stereo to 22 kHz The newer type of voc file supports both 8 bit and 16 bit audio VOC files can c
156. MIDI Tempo box where you can make changes to the tempo of the MIDI block using the Tempo field provided More information about the Set Tempo dialog can be found in the Navigating the Multitrack View Screen chapter Zoom in Zoom out MIDI Block Only If a single MIDI block is highlighted this command appears on the Edit menu A MIDI note can be assigned to 127 note values By default Adobe Audition figures out which is the highest note in a MIDI block and which is the lowest and zooms in the note display in the block so that the highest note is at the top and the lowest is at the bottom If you select Zoom Out all the values are displayed on scale with the 127 note values which gives you lots of extra space in the block Active Track MIDI Block Only If a single MIDI block is highlighted this command appears on the Edit menu Its submenu lists all of the tracks in the MIDI block Checkmark a track and Adobe Audition will playback only that track when the MIDI block is played If you want to hear all of the MIDI block s tracks checkmark the All item ADOBE AUDITION 305 User Guide Set Controller 7 MIDI Block Only If a single MIDI block is highlighted this command appears on the Edit menu The controller 7 value for a MIDI file is the master volume setting This value gets sent out each time a MIDI file is played and tells the MIDI playback device what volume to play this file at This option just lets you change the control
157. Next Sun files See AIFF or AU ADOBE AUDITION 365 User Guide Sound Card A device in your PC that allows your computer to play and record audio Stereo The reproduction or recording of two of more channels where the position of discrete left and right sounds can be determined Stripe To copy SMPTE time code to a single track of a multitrack tape The SMPTE is then used to reference time on the other tracks for purposes of syncing those tracks to other devices SVX The Amiga 8SVX format which can have an extension of iff or svx is an 8 bit mono format from the Commodore Amiga computer A variety of sample rates are supported Tempo Tempo is the rate at which music moves normally measured in BPM Beats Per Minute Time Code An audio or digital signal designed to synchronize time between multiple devices The most common forms are SMPTE and MIDI time code Track Tracks in Adobe Audition are where audio is positioned and arranged ina session A track can contain one or more blocks and can be configured with its own volume pan track name EQ effects and input output assignments Tracks are found in the Session Display of the Multitrack View and each session can have up to 128 tracks Track Cue One of the four types of Adobe Audition Cues They indicate a split in tracks for an audio compact disc Track Controls The Track Controls appear to the left of Adobe Audition s Multitrack View s Session Window There you ll find contr
158. Noise Shaping A 44 1 kHz or 48 kHz Noise Shaping B 44 1 kHz or 48 kHz Noise Shaping C1 44 1 kHz or 48 kHz Noise Shaping C2 44 1 kHz or 48 kHz Noise Shaping C3 44 1 kHz or 48 kHz Noise Shaping D 44 1 kHz or 48 kHz Noise Shaping E 44 1 kHz or 48 kHz Noise Shaping E2 44 1 kHz or 48 kHz 44 1KHZ 44 1 kHz A8KHZ 48 kHz 96KHZ 96 kHz Note In general there are no really good noise shaping curves for audio at 32kHz or lower With audio at those sampling frequencies feel free to try the different curves to see if they help at all and just choose the one that sounds the best 79 Chapter 7 View Menu Edit View he View Menu displays options that relate to changing the display or viewable area when you re in the Edit View Mode For many of the items a checkmark is shown next to their menu entries to designate that they re active Multitrack View Access this command to go to Adobe Audition s Multitrack View where you can digitally mix up to 128 tracks to one or more sound cards Pressing the leftmost button in the Edit View s File toolbar takes you to Multitrack View mode The face of the View button represents the target View that the system will jump to when pressed For example when yowre working in Edit View this button s appearance changes to let you know that if you push the button you ll go to the Multitrack View Q You can also use the F12 key to q
159. ON 157 User Guide Quick Filter Quick Filter is an 8 band equalizer can be easily customized to suit many filtering needs It works much the same as a standard audio equalizer does except that the bands act a bit differently The highest frequency band will increase or decrease the high end but it will also increase or decrease frequencies all the way down to the lowest band It will however increase or decrease the high frequencies more than the low ones of course The effect is close to an equalizer but not quite Essentially this is a quick and easy function for changing the tone of your sample to make it more pleasing to the ears Quick Filter i xj Initial Settings Final Settings z m Master Gain rk a4 gq Presets _Add Del ibe fee see fe ake ie Ee BFB PO ees fe Pe POS JF Treble Boost a A to a A Pte Close Left Right Bo Cancel T Lock L R Preview Help b bele E Ere e 86 172 344 689 1 3K 2 9K 7 3K 22K dadi Quick Filter dialog Initial Settings When the Lock to these settings only box isn t checked choose this tab to select the initial EQ settings Final Settings When the Lock to these settings only box isn t checked choose this tab to select the final EQ settings Lock to these settings only Equalize or vary settings with this option e Check this box to equalize the entire selected range with the setting shown e
160. Out Shows hides the Output device selection buttons e Bus Shows hides the West Dry Bus fields e FX Shows hides the FX and Lock buttons e EQ Shows hides the three equalization fields H M L e Pan Shows hides the Pan field and control e M S Shows hides the M Mute and S Solo buttons Out 1 Button Pressing this button brings up Adobe Audition s Playback Devices window which lets you assign the output properties for the selected track The button s text changes to reflect the output device For instance if it were set to device 2 it would say Device 2 Or if it were set to Bus C it would say Bus C Playback Devices Track 6 a xi Wave MIDI Wave Out BCOO I Same for All Tracks Untitled Bus B Playback Devices window Wave tab Wave Tab e Devices All of your system s devices that are capable of playing waveforms are listed here e Busses A list of all Adobe Audition busses you ve created is shown here e New Click on this button to add a new bus to the Busses list A properties dialog for the new bus appears By default busses are automatically named with a letter of the alphabet but you can give a bus a friendly name by filling out the appropriate field in the Bus Properties dialog MIDI Tab Wave MIDI 2 A SB Live MIDI Synth 3 B SB Live MIDI Synth 4 SB Live MIDI Out BC00 Playback Devices windows MIDI tab A list of all your syst
161. Presets for storing and recalling your favorite settings More information about Presets can be found in the Looking at the Work Area chapter Vocoder A vocoder is a special effect which takes two inputs usually an instrument of some kind and a voice and modulates one signal the process signal usually the instrument with the input of the other the control signal usually the voice Specifically the amplitude of given frequencies in the process signal are made to fluctuate in response to the same amplitude changes in the control signal allowing for the sound of one instrument to be controlled with the other In the example above the instrument the process sound could be made to sing by affecting it with the voice the control sound x Control Wave voice Process Wave synth Output To JAM Disclaimer 7 GTRlead z Newtek FFI Size Overlays Interval Size C Window Width Vocal Crossover jos e fil m a 400 Hz Resynthesis Window Affect Level Amplification 2 Medium zl o x p Presets Add _De For Female Voice OK For Male Voice ma General Purpose High Quality oe Smoothed Dut tra Vocoder Dialog To initiate Adobe Audition s Vocoder effect e Position the wave blocks so that the sections you want to process together are lined up e Make a selection that covers the part of both wave blocks you want to process e Ctrl Left click each wave block you wish to process
162. Rack dialog is the initial dialog used for deciding which real time effect s you wish to add to or remove from a bus Burn Burning is the act of writing to a CD R or CD RW disc CD R A CD R isa blank recordable compact disc that can be written to once It typically holds at least 650 MB of data or 74 minutes of audio CD R can also refer to the computer drives that write or burn CD R discs CD RW A rewritable CD R disc A CD RW also typically holds at least 650 MB of data or 74 minutes of audio but unlike a CD R a CD RW disk can be erased and written to again 356 CEL Audition Loop files are essentially MP3 files with a cel extension but with a header that contains two important items The first is the loop info just as it s saved with a wav file and is set under View gt Wave Properties gt Loop Info The cel file also works to avoid a problem with MP3 files It s in the nature of MP3 files that a very small amount of silence is added to the beginning and or end of an MP3 file when it s encoded When working with a loop though it s enough to throw the entire loop off As it saves a cel file Adobe Audition calculates how much silence is going to be added to the MP3 file and writes this information into the cel header Then when Adobe Audition loads a cel file it reads this silence information and automatically removes the silence from the file so that itll loop smoothly Chorus A delay effect that simulates several voice
163. Record Buffer Different sound card drives can require different memory buffer settings Adobe Audition s default settings should work find for most sound cards but if you hear choppiness skips or dropouts in recording or playback you may need to adjust the buffer size or number of buffers used Use the two fields in the Play Record Buffer area to reserve more memory for recording and playback by entering a higher buffer size both in seconds and a number of buffers Keep in mind that while a greater buffer size will allow for increased multitasking when audio is being played it does so at the expense of taking more of your computer s memory If you experience breakups in your audio or you can t stop a recording in progress increase the buffer size or switch to g a faster non compressed hard drive Wave Cache Adobe Audition maintains its own data buffer and reserves for it the amount of memory measured in MB specified in the Cache Size field Recommended cache sizes are from 8192KB to 32768KB 8192KB is the default e Use System s Cache Check this box to let Windows handle all disk caching Keep in mind that Adobe Audition usually handles caching better than Windows can However this option reserves the least amount of memory so it may be desired for systems with low amounts of RAM Preview Buffer This is the minimum buffer size to be used when sending data to your sound card for the real time Preview feature found in man
164. Rock Techno Ambient and World Music Broad file format support Work with files that arrive from a wide array of sources and deliver files in the audio format you need Audition supports more than twenty file formats and variations including Windows PCM wav AIFF MP3 mp3PRO and WMA 9 6 Adobe Audition at a Glance Chapter 1 Key Concepts of Adobe Audition o get the most out of Adobe Audition you should be familiar with some of its general operating concepts The following information should help you to understand Adobe Audition s working model in a few key areas Destructive and Non Destructive Editing Being a software based audio system Adobe Audition deals with audio in a digital form meaning that an analog waveform such as your voice saying hello is converted or sampled into a binary representation This sampled waveform then exists as a waveform on your computer s hard drive When you put together a song or audio presentation in Adobe Audition waveforms are your building blocks much as text files are your building blocks when you use a word processor to compose a book One key point is the way in which an audio program operates on a waveform There are two kinds of computer based audio editing destructive and non destructive e Destructive editing simply means that edits cutting pasting adding reverb etc are applied directly to the waveform so that the original audio data changes e Non destructive
165. Shortcuts Keyboard amp MIDI Triggers J x Category show all 7 Multitrack Edit View r Shortcut Key Command Name Shortcut File New Ctrl N Press new shortcut key File Spawn Another Copy of Cool Edit File Open Ctri 0 CrN Clear File Open Session File Append to Session m MIDI Trigger File Save Session Press new MIDI note or File Save Session As adiust new controller value File Open As ieee File Open Append _Clear File Revert to Saved File Close 1 Ctr Channet File Close 2 Ctrl F 4 File Close All Waves and Session Conflicting Keys File Close Non Session Waves File Save Ctri S File Save All File Save As File Save Copy As File Save Selection File Quick Save File Flush Virtual File Exit Ctri 0 Edit Copy 1 Ctrl C Edit Copy 2 Ctrl Insert Edit Win Clip Copy Edit Cut 1 Ctrl MIDI Trigger ox J este Cancel Help Not only can you assign commands to your PC s keyboard but you may also execute commands from a MIDI keyboard a sequencer or any other device capable of issuing a MIDI command This type of shortcut is referred to as a MIDI Trigger An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard Note Before attempting to enable MIDI triggering you ll need to choose a device for MIDI In that is recognized by Windows such as a soundcard s built in MIDI interface a MIDI int
166. Shortcuts chapter shortcuts Want answers to common trou Search the Adobe Support Knowledgebase and Adobe Audition Top Issues bleshooting questions which you can access from Adobe s Web site at www adobe com support prod ucts audition html Registration In order for Adobe to provide you with the highest quality software offer technical support and inform you about new Adobe Audition software developments please register your application When you first start the Adobe Audition appli cation youre prompted to register online You can choose to submit the form directly or fax a printed copy You can also register by filling out and returning the registration card included with your software package Customer support When you register your product you may be entitled to technical support Terms may vary depending on your country of residence For more information refer to the technical support card provided with the Adobe Audition documen tation Adobe also provides several forms of automated technical support e See the ReadMe file installed with the program for information that became available after this guide went to press e See the Adobe Audition support page for information on top support issues and trouble shooting information for common problems Adobe Audition at a Glance dobe Audition software is a professional audio editing and mixing environment Designed for audio and video A professionals in studios
167. The format is hour minutes seconds with the hour represented in 24 hour 0 to 23 military time format i e 10 p m is 22 Time Reference since midnight This field contains the time code of the audio file calculated since 12 00 a m Select from hh mm ss ddd hour minutes seconds thousandths of seconds or samples options Coding History This field is used to contain a description of all coding processes applied to the waveform Adobe Audition doesn t automatically add any information in this field However you re welcome to enter a processing history or any other text based information here manually Sampler Tab xi Text Fields Loop Info EBU Extensions Sampler Misc File Info Target Manufacturer ID 00000000 Target Product Code 00000000 Sample Period 1 44101 m MIDI Unity Note r SMPTE Offset SMPTE Format Note F4 X Fei T no offset z Fine Tune cents SMPTE Offset Find using Analysis foo 00 00 00 r Sampler Loops Loop 1 Sustain infinite loop Loop 1 times C Forward Forward Backward C Backword Start 9854 samples Ena 104024 samples New Remove Length 94171 samples Cancel Wave Properties Dialog Sampler tab Technical information relating to other devices systems or programs such as synthesizer uploading and downloading software can be directly imbedded within your wav files using the View gt Wave Properties gt Sampler information window As with the information in
168. Tools Adobe Audition integrates many powerful digital audio tools Complete toolkit for digital audio Handle all of your digital audio editing tasks within a single application Audition includes an integrated multitrack mixing view a mono and stereo waveform editing view effects support and looping capabilities Powerful multitrack editing Use the multitrack view for recording mixing and editing sessions with up to 128 stereo tracks Apply volume pan and effects automation envelopes use real time effects and EQ on every track play back AVI and MIDI files and more Audio for video Open AVI files in the multitrack view and use all of the audio tools available in Adobe Audition on the soundtrack This means you can do anything from creating a totally new soundtrack to sweetening the recording you already have to reducing noise on the current soundtrack Loop based soundtrack creation Use flexible looping tools to quickly construct high quality music for songs or movie soundtracks Loops automatically match global session tempo and key to produce dynamic musical performances Thousands of royalty free production music loops Adobe Audition includes thousands of original performance based loops in a wide range of musical genres that you can combine to create your own music beds songs soundtracks and more Styles include Classical and Orchestral Blues Cocktail Jazz Bossa Nova Rockabilly 70s Funk Lounge Dub Reggae Ska Alternative
169. View Find Levels Press this button to scan the waveform or a highlighted section to have Adobe Audition automatically determine a good starting point for signal levels After completing the scan suggested values are automatically placed in the appropriate boxes If these values aren t doing the job say words or phrases are being chopped off try lowering the signal level values Increase the signal level values if not enough silence is being removed Mark Deletions in Cue List Check this box to have each location where silence is removed added to Adobe Audition s Cue List Limit Continuous Silence to Enter a value in milliseconds in this box to set a minimum amount of silence to keep at all times e Ifa silent region of less than this length is found it s not removed e Ifa silent region of more than this length is detected enough silence is removed so that there s exactly this length of silence left Setting this value to zero will remove as much silence as possible When shortening speech segments a setting of 150 ms or so will leave a more realistic natural sounding pause where Q the larger region of silence was found Removal of too much silence leads to an artificial sound Scan for Silence Now Press this button to pre perform the silence deletion Instead of actually deleting it reports how much silence will be removed as well as how many sections of silence were found This gives you an idea of what to expe
170. a dialog for adjusting the element s color After the new choice has been made the example to the right will change to reflect the newly chosen color Segmented Progress Bar Select this option to have Adobe Audition s progress bar which is seen when you run an effect or open save large waveforms appear segmented instead of solid White Progress Background Check this box to make the background of Adobe Audition s progress bar white Dockable Windows Select one of these options to decide how Adobe Audition s dockable windows will look e Use system 3D color With this option checked dockable windows will take on your system s 3D color the same color that Windows uses to render most of the other windows on your system e Used darkened system 3D color Check this option to have dockable windows use the darkened version of your system s 3D color e Use specified 3D color Enabling this option will cause Adobe Audition s dockable windows to take on the 3D color you specify To change the 3D color make sure Dockable Windows 3D Color is highlighted in the controls list Then press the Change Color button to access the Adobe Audition Color dialog to select a new color Display Tab In this area is where you choose options for Adobe Audition s Spectral View and Waveform View modes Settings x General System Colors Display Data Multitrack SMPTE m Spectral Display _ Waveform Display Windowing
171. a number of data formats ADOBE AUDITION 31 User Guide The AIFF format is a good choice for PC Macintosh cross platform compatibility Before you open AIFF files in Adobe Audition add the aif or snd extension to the file and load it using the Apple AIFF file filter When transferred to a Mac you can add the four character code AIFF in the file s resource fork to have it recognized The Macintosh identifies a file through its resource which is stripped away when a file is opened on a PC However many Mac applications that support AIFF can recognize the PCM data without this identifier ASCII Text Data txt Audio data can be read to or written from files in a standard text format with each sample separated by a carriage return and channels separated by a tab character An optional header can be placed before the data If there is no header text then the data is assumed to be 16 bit signed decimal integers The header is formatted as KEYWORD value with the keywords being SAMPLES BITSPERSAMPLE CHANNELS SAMPLERATE and NORMALIZED The values for NORMALIZED are either TRUE or FALSE For example SAMPLES 1582 BITSPERSAMPLE 16 CHANNELS 2 SAMPLERATE 22050 NORMALIZED FALSE 164 lt tab gt 1372 492 lt tab gt 876 etc Options Choose any of the following e Include Format Header places a header before the data e Normalized Data normalizes the data between 1 0 and 1 0 Audition Loop cel Audition
172. a session must share these properties or be converted upon inserting them New Multitrack Session q xj Sample Rate OK ok Cancel Een Help New Multitrack Session dialog Sample Rate This value determines how many frequencies can be encoded in the audio signal Higher sampling rates mean a wider bandwidth Popular sample rates are already listed just click on one to select it Or enter a custom number in the Sample Rate box to specify a different rate from those provided However keep in mind that most sound cards only support certain sample rates 274 CHAPTER 14 File Menu Multitrack View Open Session This function launches the Open a Multitrack Session dialog allowing you to load an existing session ses file along with all audio files used in the session Open a Multitrack Session 2 x Recent Folders c sounds radio y M Show File Information Look in J Radio eX Fae background ses E radiofinal se riper GTRbak wav GTRlead wav organ wav VoiceoverFinal wav vox2 wav File name radiofinal ses Files of type Multitrack Session ses z Cancel 4400 He Help 23 Tracks Open Session dialog Here are the components of the Open a Multitrack Session dialog Recent Folders The most recently used folders are displayed here in a drop down menu This allows quick access to frequently used folders Lookin Use this drop down list to navigate throug
173. ack s overall mute state Track Mute is sent in the Track Info dialog or by pressing the green M button in the track s console area Lockin Time If this box is checked the waveform block is locked to its current time location in the multitrack session Locking a waveform is useful when you ve decided upon its position in time and don t want to accidentally move the waveform when right clicking on it While a waveform which has been locked can t be moved in time left or right it may be vertically repositioned allowing you to move it between tracks To unlock a waveform uncheck the Lock in Time box and it will be freed for horizontal movement Note Locked waveforms are identified by an overlaid graphic that looks like a padlock in a circle Lock for Play Only Checking this box will set put the waveform block into safe mode so that it won t be recorded into A locked for play only waveform won t become red when position in a record enabled track To re enable recording for the waveform block uncheck this box or to Edit gt Lock for Play Only and remove its checkmark by clicking on it Transpose MIDI Block Only If a single MIDI block is highlighted this command appears on the Edit menu Use Transpose and its submenu options to change the key of a MIDI block up or down by up to seven steps Set Tempo MIDI Block Only If a single MIDI block is highlighted this command appears on the Edit menu It displays the Adjust
174. ain frequencies may take longer to decay to 60dB while other frequencies may decay much faster Longer values give longer reverb tails but also take longer to compute The effective limit is about 6000 milliseconds a 6 second tail The actual tail generated is much longer than this in order to allow for decaying into the background noise level Attack Time This is the time measured in milliseconds that it takes for the reverb to build to its maximum amplitude Generally reverbs tend to build up over a short time span and then decay at a much slower rate Interesting effects can be heard with extremely long attack times like 400 milliseconds or more Diffusion This setting controls the rate of echo buildup and how diffuse the echoes are High diffusion values above 900 give very smooth reverbs without distinct echoes heard in them Lower values will produce more distinct echoes since the initial echo density will be lighter but the density will build over the life of the reverb tail Very interesting bouncy effects can be obtained by using low Diffusion values and high Perception values Using low Diffusion values and somewhat low Perception values with long reverb tails give the effect of a football stadium or similar arena Perception This value models irregularities in the environment objects walls connecting rooms etc Low values will do a smoothly decaying reverb without any frills Larger values will give more distin
175. alue the more the graph affects the resultant reverberation Mixing Section Original Signal dry This slider adjusts the amount of Original Signal with respect to the other levels to give the feeling of distance between the listener and the source e Use a low signal level to sound far away e Use a high level near 100 along with low levels for the other sliders to give the feeling of being close to the source Early Reflections Since these are the echoes that first reach the ear they give the listener a feeling for the overall room size and dimension Ifthe mixing for this is set too high though the result will sound somewhat artificial e Ifthe mixing for this is set too low the audio cues for room size will be lost Generally about half the volume of the original signal is a good starting point Reverb wet This controls the volume of the dense layer of sound usually associated with reverb Like the Early Reflec tions volume this slider should be fine tuned to give a pleasing mix that gives the impression you are after If it s too loud the reverb sounds very unnatural The balance between the reverb and the original signal gives the impression of distance so increase the reverb volume with respect to the original signal to make the source sound further away Include Direct With a stereo waveform checking this box will cause the original signal s left and right channels to be phase shifted delayed slightly to match the directi
176. an open waveform perhaps blank and no highlighted selection The Batch Run button is only selectable if a script of this type is selected from the Scripts List Note For more information see the section on Batch Processing later in this chapter Pause at Dialogs Check this option to have the script stop at each dialog allowing you to modify the values of that function Pressing Cancel in any dialog will stop the script Pressing OK will continue it Alert when complete If this option is checked a dialog will signal the completion of the script Execute Relative to Cursor When using Works on Current Wave types of scripts check this option to have all script operations performed relative to the original positioning as opposed to at the original position ADOBE AUDITION User Guide For example suppose you have a script which was originally recorded with a cursor position at 0 10 00 Check this box to apply the script at the current cursor location plus 10 seconds If your cursor is at 0 05 00 the results would be at 0 15 00 With this option unchecked the script will be performed at the original location 0 10 00 in our example Q To have a script which you ll likely execute at the current cursor position record the script at a 0 00 00 position and check this option Edit Script File This will open the currently loaded script collection in the Windows Notepad applet for editing Title Before creating a new script you must first
177. ance Ls Rs stereo Sends the selected track s signal as a stereo source directly to only the rear Left Surround and Right Surround speakers in a 50 50 stereo balance ADOBE AUDITION 333 User Guide Center LFE stereo Note that this option is most useful with a stereo source file when this option is selected for a stereo track it will route the track s left channel signal to the Center channel and the track s right channel signal to the LFE channel discretely If this option is selected for a track containing Mono source file then the same signal will be sent equally to both the Center and LFE channels Center only FL only FR only Ls only Rs only These options each sum the selected track s audio to a mono signal and send it all to the selected channel This is the same as dragging the Panner Point directly onto one of the five main speakers in the Surround Panner interface Sub Channel Level Slider Sub Channel Level harman erent B a ab i ahi gt Sub Channel Level Slider When in one of the Surround Panner modes the Panner Point positions the sound source balance between the five main channels However you can also raise the amplitude of this slider to additionally send the track s signal to the LFE channel With this slider set to zero no track audio is sent to the LFE channel If the currently selected track is assigned to only the LFE channel this slider will attenuate the amount of this track s output
178. and getting distorted then increase the rejection threshold to keep repairs at a minimum The fewer repairs that are needed to get good results the better Adobe Audition may interpret some valid audio as clicks depending on the nature of the waveform in question Some waveforms have sharp albeit periodic spikes throughout The rejection algorithm looks to see if this click is isolated meaning it s a real click or has neighbors meaning it s probably part of a desired waveform 164 CHAPTER 8 Effects Menu Edit View Second Level Verification Check the Second Level Verification box to start rejecting some of the potential clicks that were found by Adobe Audition s click detection algorithm In some types of audio such as trumpets saxophones female vocals and snare drum hits some of the peaks in the natural waveform may be detected as clicks If these peaks are corrected as clicks the resulting audio may sound muffled With Second Level Verification enabled these peaks will be rejected and not corrected after all True clicks on the other hand will not be rejected Because this option slows down the restoration you should first try correcting the audio with this option turned off and Q only use it for sections that are very troublesome See Rejection Threshold for more information Pulse Train Verification Use this option if too many clicks were detected because of a periodic waveform like trumpet waveform peaks being con
179. and right channels Another interesting use for convolution is to generate an infinite sustained sound of anything For example one singing Q aaaaaah for one second could be turned into thousands of people singing aaaaaah for any length of time by using some dynamically expanded white noise To get a feel for Convolution load up and play with some of the sample Impulse files imp that come with Adobe Audition You can find them in the IMPS folder inside of the folder where you have installed Adobe Audition or on the Adobe Audition CD Create Custom Impulse Use these options to create new impulses e Load Press this button to load a previously saved impulse such as the ones that come with Adobe Audition The sample rate of an impulse will affect the outcome of convolution For example if an impulse was created at 44100Hz and reloaded and used on a 22050Hz file then everything will be stretched out 2 1 All filtered echoes will be at half the frequency and all delays will be twice as long e Save saves an impulse for later recall e Clear clears the impulse completely e Mono Stereo Mono impulses work with either mono or stereo data the left and right channels will be convoluted with the same impulse Stereo impulses convolute the left and right channels separately Highlighted Selection Any audio can be added to an impulse directly The scaling factor to use when adding a highlighted selection to an impulse determin
180. and sample rates It follows the RIFF Resource Information File Format specification and allows for extra user information to be embedded and saved with the wave file WAV files contain PCM coded audio which is pure uncompressed Pulse Code Modulation formatted data Options These formatting options are available only to 32 bit files they ll be disabled grayed out at other times e 32 bit 24 0 float type 1 24 bit saves full 32 bit floats in the range of 8million but the wav BitsPerSample field is set to 24 while BlockAlign is still set to 4 bytes per channel e 32 bit 16 8 float type 1 32 bit is Adobe Audition s internal format Floating point values are in the range of 32768 0 but larger and smaller values are valid and not clipped since the floating point exponent is saved as well The way BitsPerSample field is set to 32 and BlockAlign is set to 4 bytes per channel e 32 bit 0 24 normalized float type 3 32 bit is the standard floating point format for type 3 wav files Values are normalized to the range 1 0 and although values above and below this range are saved some programs may clip when reading them back in Adobe Audition will not clip but read the same value back if it s beyond this range e 24 bit pack int type 1 24 bit saves straight 24 bit integers so any data beyond the bounds are clipped The wav BitsPerSample field is set to 24 and BlockAlign is set to 3 bytes per channel
181. ans there will be no change in volume Presets Adobe Audition comes with several Envelope presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the selected envelope adjustment before you apply it to the waveform The selection is played over and over looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear changes as the selection is looped Check the Bypass box to hear the waveform without any changes in envelope processing for a quick before and after comparison Hard Limiting Adobe Audition s Hard Limiter enables you to drastically attenuate audio above a certain threshold while leaving all audio samples below that threshold alone For example you can amplify a piece of audio well beyond where it would normally clip and the Hard Limiter will soften the regions that would otherwise be clipping ensuring that the maximum sample amplitude does not go above the given limit This can be extremely handy if for instance you did a Mixdown to a 32 bit audio file and only have a few places where the audio is clipping but do not want to Normalize down the entire waveform which would reduce the volume of it Hard Limiting will bring down only those portions that are clipping or would be clipping if converting to 16 bit ADOBE AUDITION User Guide Limit Max Amplitude
182. area to zoom in on The zoom in occurs when the right mouse button is released e Right click anywhere on the Horizontal Ruler to call up a menu with several options e The Display Time Format submenu allows you to choose the time format the Horizontal Ruler uses e Snapping allows the edges of any block to snap to certain time locations when being dragged Check the snapping behavior s desired e Six Zoom commands are provided Zoom In Zoom Out Zoom Full Zoom to Selection Zoom In to Left Edge of Selection and Zoom In to Right Edge of Selection Several of the zoom commands already have keyboard shortcuts assigned to them which are shown on the Zooming Q menu Regularly using these shortcuts will result in faster editing sessions Track Display Ruler The vertical Track Display Ruler which appears at the right edge of the session window displays the numbers of all visible tracks By default Adobe Audition shows you only four tracks but the range of tracks that are displayed at any one time can easily be changed by using the following mouse commands e Left click and drag the little hand vertically over the Track Display Ruler to scroll through Adobe Audition s visible track ranges from tracks 1 through 128 Drag up to see higher track numbers drag down to see lower track numbers The number of tracks that will be visible at one time will remain the same but the track ranges being viewed will be shifted either up or down
183. argeted loop starting point 2 Select Edit gt Find Beats gt Find Next Beat Left to locate the beginning of the current beat 3 Press Shift until you arrive at the desired loop starting point 4 Choose Edit gt Find Beats gt Find Next Beat Right to select from the current cursor position now the loop start to the next beat 5 Press Shift until you arrive at the desired ending for your loop 6 Press the Play Looped button in the Transport Controls to audition your loop 7 After any necessary tweaking you can then save paste or add the loop to the Cue List Note If the waveform levels don t match up at the loop point you may hear audible clicking as the loop repeats To adjust for this you can revert to the original source file and use the Zero Crossings feature to match initial and ending levels 68 CHAPTER 6 Edit Menu Edit View Auto Cue The Auto Cue feature is used to define spoken music phrases or beats and automatically add them to the Cue List To use Auto Cue first highlight the general region in which you wish to find phrases or beats Then select Edit gt Auto Cue and the appropriate submenu choice from the following options e Adjust Selection to Phrase Selects a phrase within the highlighted region by adjusting the highlight inward ignoring any silence before and after the audio Nothing is added to the Cue List e Find Phrases and Mark Scans the highlighted area marking non silent regions as
184. atural sound as if it were all one take Crossfade Crossfades are used to create smooth transitions from the end of one audio segment to the beginning of another They do so by creating a fade out and a fade in over the transition region Waveforms to crossfade between should be positioned in different tracks or can be in the same track in a back to back manner adjacent if possible To crossfade make a selection with your mouse and include in it the beginning and ending sections of any waveforms you wish to include in the crossfade The highlight should extend a bit beyond the end of the waveform s to fade from and should start a bit before the beginning of the waveform s to fade to Or if Edit gt Snapping gt Snap to Blocks is enabled the highlight will easily adjust itself to the beginnings and endings of the waveforms You can also adjust the highlight by holding the Shift key down when doing a left click near the edge of the selection After establishing a highlighted area you need to select the waveforms to include in the crossfade by holding down the Ctrl key and left clicking on the desired wave blocks Next choose Edit gt Crossfade or Crossfade from the right click menu and the type of crossfade you want to do to crossfade between the selected waveforms Three major types of crossfades are available Choose Linear for an even grade and Sinusoidal for a curved sine like slope to the fade Logarithmic will fade the amplit
185. atus Bar submenu item Note More information on the Status Bar can be found in the Looking at the Work Area chapter Wave Properties Access this command to bring up a tabbed window that lets you embed text and graphics specify certain parameters and get information about the active waveform Note Make sure the Save extra non audio information box is saved in Adobe Audition s Save Waveform As box in order for this additional data to be embedded in your waveforms Text Fields Tab Adobe Audition allows you to embed text based data in Windows wayv files that use the RIFF LIST INFO and DISP type 1 formats as well as standard ID3 tag information in mp3 files Provided that other audio editors support this information this information remains with your audio file throughout its lifetime Wave Properties xj Tent Fields Loop Info EBU Extensions Sampler Misc File Info Text Field Names Standard RIFF gt Comments Display Title Baby You re It Recorded live in studio Players included Mike Bill Gregg and Original Artist Loma Roberts Darlene Name babyyouteit wav Genre Easy Rock Key Words Female Vocal Rock Uptempo Fast Love Digitization Source Main Studio Computer Original Medium Live Recording Engineers Bruce Robes Subject Digitizer John Quincy fromthe Baby Youte It CD Source Supplier ARP Studio Copyright 2001 8 Software Package CoE Po SS Creat
186. ave it float above Adobe Audition s main window 24 CHAPTER 2 Looking at the Work Area apa I pe fer ab ST 5451 48 45 42 89 8H 83 BD OT 2d 2118 15 E HB Level Meters The incoming signal from your selected sound card s is represented as the peak amplitude in decibels where a level of OdB is the absolute maximum before clipping occurs If clipping does occur the clip indicator to the right of the meter will light up and remain lit Clicking on the clipping indicator at any time resets it Yellow peak indicators will stick for 1 5 seconds before resetting to allow for reading of the peak amplitude When displaying stereo audio the top meter represents the left channel and the bottom the right To close the Level Meters window when it s floating click on the X control in its title bar To get rid of the Level Meters window when it s docked right click on its grab bar and select Close from the pop up menu Or you can simply uncheck the Show Level Meters item on the View menu to close it in either docking or floating mode Right click on the Level Meters window to call up a menu with metering options Monitor Record Level This option activates the Level Meters and starts monitoring the recording source This is useful for setting input levels before recording To stop monitoring press the Stop control or tap your spacebar You can also start and stop monitoring by double clicking on the Level Meters S
187. ay back in any order and loop a specified number of times in nondestructive fashion Adobe Audition saves the Play List in the wav file format header Plug in A Plug in is a software component that can be added to another piece of software to increase its functionality For example Adobe Audition supports third party DirectX audio Plug ins which seamlessly integrate into Adobe Audition s interface Portion Bar Vertical and horizontal bars that are used for zooming and scrolling in both Edit and Multitrack Views Their name comes from their ability to allow you to see just a portion of the current waveform or session Preset Most functions in Adobe Audition supports Presets A Preset is a group of function settings saved under a particular name for later recall Functions that support Presets will have a list where you can click on a Preset name to recall the settings as well as an area for creating and naming new Presets as well as a way for removing unwanted ones Preview Many functions in Adobe Audition support real time Preview which means that changes to the function settings may be monitored while they re being made from within the function dialog Those that offer Preview will have a Preview button in the function s dialog The Preview quality is dependent upon your system s performance Punch In Punch In is a recording method used to record into a certain region of an existing waveform Punching is usually used to replace an
188. ays all the options that relate to waveform transformation signal processing functions when you re in Adobe Auditions Edit View mode In other words if you want to apply a cool effect to your audio you ll be able to do it and lots more here Invert This function simply inverts the waveform s samples so that all positive offsets are negative and all negative offsets are positive Inverting doesn t produce an audible effect but it can be useful in lining up amplitude curves when creating loops or pasting If applied on a stereo waveform both channels are inverted Reverse Select this command to have the current selection or entire waveform if no selection is made play backwards by reversing the order of its samples Reverse is useful for creating special effects Silence This option silences out the selected range of the waveform Unlike deleting or cutting a selection which splices the surrounding material together Silence leaves the duration of the selection intact and simply zeros the amplitude within it Note You must select part or all of your waveform first in order for Silence to work Amplitude Use the following commands in the submenu to alter the amplitude volume level of an audio file or selected range Amplify The Amplify command provides the following options 98 CHAPTER 8 Effects Menu Edit View Amplify dialog Constant Amplification tab Amplification
189. ays be one voice directly in the center e With an even number of voices and very high stereo field settings all voices are pushed either hard left or hard right Output The final output can be a mix between the original input dry signal and the chorused wet signal Ordinarily both settings should be less than 100 otherwise the overlaying of several voices may cause clipping Dry Out This setting determines how much of the unprocessed signal is mixed into the final output If you set it to zero Adobe Audition adds the original voice to the number of processed voices which is determined by the Thickness setting 120 CHAPTER 8 Effects Menu Edit View Keep the original signal near 100 and reduce the Wet Out to give the singer or instrument a backup chorus Reduce Q the blend to 30 or so to blend the original signal with the processed chorus Use Adobe Auditions multitrack mixing capabilities to dynamically bring in and fade out the chorus Add the chorus Q effect to a copy of the original audio and set this value to zero to create a chorus only version of the original In the mixer insert both the original and the fully chorused versions Use the volume envelope control to adjust the volume of the chorus over time or just tweak the final amplitude of the background chorus with the track s volume settings This technique can be handy for emphasizing certain portions of the singing with a backup chorus Wet Out This setti
190. be Audition s Organizer Window is a handy tabbed window that allows you to easily open and close files see a list of all open waveforms and MIDI files choose effects with ease and more The Organizer Window is hidden by default To display it check Show Organizer Window from Adobe Audition s View menu or press the Alt 9 keyboard shortcut The Organizer Window initially appears to the left of the Wave Display in Edit View or to the left of the Session Display in Multitrack View However it s dockable so you can reposition it at one of several places in the Adobe Audition interface Or you may detach it and have it float above Adobe Audition s main window To close the Organizer Window when it s floating click on the X control in its title bar To get rid of the Organizer Window when it s docked right click on its grab bar and select Close from the pop up menu Or you can simply uncheck the Show Organizer Window item on the View menu to close it in either docking or floating mode or press the Alt 9 hotkey Files Pane Fa Petis The Files Pane of the Organizer Window with Advanced Options displayed The Files Pane of the Organizer Window displays a list of open waveforms and MIDI files Here are its components Open File Click on the Open File button to access Adobe Audition s Open a Waveform dialog Double clicking on a waveform in the Organizer opens it for editing in the Edit View Dragging and dropping a Wave or MIDI
191. be Audition Multi track View is a nondestructive editing environment Normalize Normalization adjusts the highest peak of the waveform to a certain percentage thereby raising or lowering all other peaks accordingly In most cases this is 100 but Adobe Audition allows you to normalize a waveform to any percentage Nyquist Frequency The Nyquist Frequency also called Nyquist Rate is one half of the current sampling rate For example the Nyquist Frequency for 44 100 Hz audio is 22 050 Hz This frequency designates the highest reproducible frequency for that sample rate Thus in order to reproduce a signal with an 11 kHz frequency range you would need to select a sample rate of at least 22 kHz In nearly all analog to digital converters frequencies that exceed the Nyquist Frequency are filtered out before reaching the actual analog to digital conversion process using analog bandpass circuitry If not filtered out frequencies above the Nyquist Frequency would produce aliasing distortion It s best to record at higher sample rates and convert down if needed 362 Organizer Window The part of the Adobe Audition interface that lets you see a tabbed list of open files effects and favorites The Organizer Window isn t shown by default Activate it by pressing the F9 key or by selecting View gt Show Organizer Window PCM Pulse Code Modulation PCM is the standard method of digitally encoding audio It s the basic uncompressed data format us
192. be Audition will then use the format chosen here when referencing time the Time Window the x axis time ruler time status boxes Status Bar etc Selectively cycle through the available time formats by double clicking on the waveform ruler In addition right clicking Q on the horizontal time waveform ruler or the main time display will pop up a window that allows you to select between formats Decimal mm ss ddd This display type numerically indicates time in an mm ss ddd minutes seconds decimal format Compact Disc 75 fps This time format used is the same one utilized by audio compact discs where each second equals 75 frames SMPTE 30 fps Time is displayed in the SMPTE format where 30 frames equal one second SMPTE Drop 29 97 fps This display type numerically indicates time in the SMPTE Drop format of 29 97 frames per second SMPTE 29 97 Use this option to display time in the SMPTE Non Drop format of 29 97 frames per second SMPTE 25 fps EBU Time is displayed using the standard European frame rate standard of 25 frames per second SMPTE 24 fps Film Use this SMPTE time format when working with film where 24 frames equal one second Samples This display type indicates time numerically using the actual number of samples that have passed since the beginning of the edited file as a reference Bars and Beats This displays time in a musical measures format of bar beat ticks per beat You can adjust the number of ticks per beat t
193. be quickly analyzed for their frequency and amplitude content Frequency Measured in Hertz Hz a sound s Frequency is the rate at which it vibrates or its cycles per second A cycle consists of movement from a starting point 0 through both positive and negative amplitudes eventually returning to the starting point A sound s frequency determines its pitch FX An abbreviation for the word effects Hertz Hz This is a unit of measurement used to measure the frequency of a sound Hertz are equal to cycles per second ADOBE AUDITION User Guide IDE Integrated Drive Electronics A type of hard drive and CD ROM interface that s the most common interface as opposed to SCSI in PCs IMA ADCPM The International Multimedia Association IMA flavor of ADPCM compresses 16 bit data to 4 bits sample 4 1 using a different faster method than Microsoft ADPCM and has different distortion characteristics which can give better or worse results depending on the sample being compressed As with Microsoft ADPCM it s best to save to this format from 16 bit rather than 8 bit This compression scheme can be a good alternative to MPEG it provides reasonably fast decoding of 4 1 compression and it degrades sample quality only slightly The files produced using this format have an extension of wav IFF The Amiga 8SVX format which can have an extension of iff or svx is an 8 bit mono format from the Commodore Amiga computer A variety of sample ra
194. best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Flat Press this button to remove all control points with the exception of the points at each end of the graph line thereby straightening out the line Invert The Invert button changes the graph to one that will function as the exact opposite For example if an effect function with a compressor characteristic is being displayed pressing Invert changes the graph to one with the corre sponding expander characteristic Note For a graph to be invertible it must have points in the two default corners 100 100 and 0 0 and its output level must always increase from left to right i e each control point must be higher than the one to its left Presets The Envelope Follower effect supports Presets for storing and recalling your favorite settings More information about Presets can be found in the Looking at the Work Area chapter Frequency Band Splitter Use the Frequen
195. best to process a single channel Flat This button resets the graph so that a straight horizontal line appears at zero degrees All control points are removed except for the ones at the end of the line Preview Press the Preview button to audition the current phase shift settings before you apply them Check the Bypass box below to bypass the effect so that you can do a before and after comparison Notch Filter This filter removes up to six user defined frequencies in addition to standard telephone DTMF tones Use this filter when you wish to remove very narrow band frequencies For example you can remove a 60Hz hum while leaving all 59Hz and 61Hz audio untouched 154 CHAPTER 8 Effects Menu Edit View Notch Filter x m Tones to Notch Frequency Attenuation Presets _Add _Del v Jeo fao 50Hz Harmonics heavy z Hz 2 50Hz Harmonics Removal Iv 180 Hz 32 dB 60Hz Harmonics heavy 60Hz Harmonics Removal M 200 Hz 24 dB DTMF Tones Removal Ice Cream Truck m 420 Hz fi 6 dB Iv 540 Hz je dB Iv 660 Hz fa dB I DTMF Lower Tones 30 dB 697Hz 770Hz keken waah 852Hz 941Hz Super Narow z OK J DTMF Upper Tones fao dB Cl 1209Hz 1336Hz c 1477Hz 1633Hz Be Cancel T Fix Attenuations to fo dB Preview Help Notch Filter dialog Tones to Notch Here you may select and enter up to six frequencies to notch Click in the checkbox to activate the box for e
196. board to the Windows clipboard F8 Add the cursor position to the Cue List Shift F8 Add a track marker Ctrl F8 Add an index marker F2 Repeat the last command its dialog is shown F3 Repeat the last command no dialog is shown Ctrl B Enable both channels Ctrl L Enable the left channel only Ctrl R Enable the right channel only Up Arrow Adjust the channel left or track up Down Arrow Adjust the channel right or track down F5 Refresh the display of blocks Shift F5 Check for hidden blocks Shift Backspace Destroy the selected block Ctrl Shift Backspace Destroy the selected block now Ctrl G Group Ungroup blocks Ctrl Delete Clear Volume Envelope points Ctrl Shift Delete Clear Pan Envelope points Nudge the selected block to the left Nudge the selected block to the right Ctrl Shift Up Arrow Block color next Ctrl Shift Down Arrow Block color previous Ctrl K Choose color for block s Ctrl Up Arrow Select previous block in track Ctrl Down Arrow Select next block in track ADOBE AUDITION User Guide 347 348 Keyboard Shortcuts Scroll Select Shortcuts H Adjust selection left side to the left J Adjust selection left side to the right K Adjust selection right side to the left L Adjust selection right side to the right Ctrl Home Scroll to the beginning of the waveform or session when the view is zoomed in Ctrl End Scroll to the ending of the waveform or s
197. broadcast facilities and post production facilities Adobe Audition delivers advanced audio mixing editing mastering and effects processing capabilities Mix up to 128 tracks edit individual audio files create loops and use more than 45 DSP digital signal processing effects Adobe Audition is a complete multitrack recording studio that offers a flexible workflow coupled with exceptional ease of use Whether youre producing music radio broadcasts or audio for video the precise tools in Adobe Audition give you the power to create rich nuanced audio of the highest possible quality A complete solution for digital audio Adobe Audition lets you Sound your best Adobe Audition supports files with bit depths of up to 32 bit and sample rates in excess of 192 kHz so whether your destination is tape CD DVD or DVD Audio Adobe Audition is up to the task All processing is done at 32 bit resolution for the highest quality sound Work efficiently Adobe Audition puts all the tools you need at your fingertips so that you can get your work done quickly and efficiently An accessible interface helps you to get up and running in no time and dockable pallets enable you to arrange your workspace to match a project s needs Use integrated tools Adobe Audition provides an all in one audio editing and mixing solution Integrated multitrack and edit views real time effects looping support analysis tools restoration features and video support provide th
198. buted to the background mixing process not being far enough ahead A greater buffer size will require more of your computer s memory The default setting is 1 5 seconds Playback Buffers This field is used to adjust the number of buffers Adobe Audition uses for playback in the multitrack environment If you experience break up in your audio try reducing the number of buffers Increasing the number of buffers may also help for some configurations The default setting is 10 Recording Buffer Size Use this field to reserve memory for recording in a multitrack session by entering a buffer size in seconds Different sound card drivers can require different memory buffer size settings Adobe Audition s default settings should work fine for most sound cards If you experience dropouts while recording in multitrack especially when playback seems fine try increasing this setting First be sure the background mixing process is sufficiently complete when you go to record as this may cause the same symptom A greater buffer size will require more of your computer s memory The default setting is 2 seconds Recording Buffers This field is used to adjust the number of buffers used for recording in the multitrack environment If you do experience break ups in your audio try reducing the number of buffers Increasing the number of buffers may also help for some configurations The default setting is 10 Background Mixing Priority Level Here is where
199. button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Noise Reduction Adobe Audition s Noise Reduction function can dramatically reduce background and general broadband noise with a minimal reduction in signal quality It can also remove tape hiss microphone background noise 60 cycle hum or any noise that is constant throughout the duration of your waveform I x Noise Profile Currently Set Noise Level View Left Right Profiles Load Profile Save Profile Snapshots in profile 300 More Less I LogScale V LiveUpdate Flat C 7 Noise Reduction Level g Low Noise Reduction Settings OK FFT Size 4096 ala Reduce by 40 dB o FERAE Precision Factor 8 Close C Keep Only Noise Smoothing Amount 1 Biss Cancel Transition Width 0 dB Preview Help Noise Reduction dialog ADOBE AUDITION User Guide The amount of reduction required depends upon the type of background noise and the allowable loss in the quality of the signal that is to be kept In general you should be able to attain increases in Signal to Noise ratios of 5dB to 20dB Noise is reduced 21dB and signal 1dB for example Before you can perform noise reduction you must load or get a noise profile first This is done by pressing the Load Profile or Get Profile from Selection buttons Note If hiss is what you want to re
200. c meters The larger a room is the longer the reverbs are for that room Use this control to create virtual rooms from only a few meters to giant coliseums Dimension The ratio between the room s width left to right and depth front to back can be chosen with this slider A sonically appropriate height is calculated and reported below after Actual Room Dimensions Very narrow rooms simulate a person being at the other end of a long hallway These rooms generally sound louder because of all the echoes reflected off the narrow walls Extremely wide rooms are not very deep If you want to simulate a person being at one end of the hall or the other in a very wide room use the Location slider The wider a room the easier it is to hear the left right location of the source Generally rooms with width to depth ratios between 0 25 and 4 provide the nicest sounding reverbs Left Right Location The source can be placed off center to produce a different set of incoming early reflection echoes Checking the Include Direct box in the Mixing section below will also adjust the Original Signal to sound as if it is coming from the same location by delaying one of the channels Very nice effects are possible with singers being very slightly off center say between 5 and 10 left or right High Pass Cutoff Very low frequency less than 100Hz instruments such as bass or drums can get phased out for small rooms when the early reflections mix with the original sig
201. ce such as a sound card that this track will record through to is shown here If your system has more than one recording device you can select it from the dropdown list e Channel Use this dropdown list to decide if you want this track to be Left Only Right Only or Stereo e Bit Depth Here s where you select whether you want the track to be 16 bit or 32 bit An Adobe Audition session can contain a mix of 16 bit and 32 bit tracks e Effects Press the FX button to bring up the Effects Rack for that track e Lock If the track has one or more real time effects applied to it this button locks the track e Bus If you ve added this track to a bus the Wet and Dry percentages are shown here You can left click and drag on these boxes to adjust these percentages e EQ The Low L Mid M and High H equalization values of the track are displayed in these three fields You can adjust the EQ level of one of these fields by left clicking on it and dragging Dragging to the right increases the number while dragging to the left reduces it For more equalization control go to View gt Track EQ e Record This button arms the track for recording Press the master record button in the transport controls to start recording e Solo This button solos the track so that only it will be heard on playback All other tracks are muted Note Despite its singular name more than one track may be soloed To do this hold down the Ctrl
202. ce granulation noise when converting to lower bit rates Various other options are available letting you adjust the conversion process to suit your own particular needs The following are the major components of the Convert Sample Type Sample Rate Conversion Presets Choose any saved presets that you ve created from this drop down list Have a sample type that you convert to often Use the Save As button to add those settings to the Sample Rate Conversion Presets list Press the Delete button to remove highlighted entries from the list 76 CHAPTER 6 Edit Menu Edit View Sample Rate The sampling rate you choose determines the overall bandwidth how many frequencies can be encoded within the audio signal Higher sampling rates generally yield better quality waveforms Enter any sample rate directly or choose a common sample rate from the list Keep in mind that most sound cards support only certain sample rates Low High Quality Use this slider to adjust the quality of the sampling conversion Higher values retain more high frequencies while still preventing aliasing of higher frequencies to lower ones but the conversion process takes longer A lower quality setting requires less processing time but results in certain high frequencies being rolled off leading to muffled sounding audio Usually values between 100 and 400 do a fine job for most conversion needs You should use high quality settings whenever you downsample from a high
203. ce loaded the appended waveforms can easily be moved into place by actively selecting the desired waveforms and by right clicking on any one of them and then dragging them into position If yowd like to add a previously created session to your current session this can easily be done using the File gt Append Q to Session command For example let s say that we d like to insert an existing multitrack composition that s been saved as a session Appending the desired session into our current workspace which will place them at the beginning of the timeline onto the next available set of open tracks we can now select and move the appropriate session waveforms into place often using the Ctrl Right Click mouse command to select multiple waveforms and Voila yow ve integrated two sessions into a whole new composition Close Session Use this function to close the current multitrack session You ll be asked if you would like to save the session if you ve made any modifications since the last save Close Session and Waveforms This command closes the current multitrack session and also closes all waveforms used in that session You ll be asked if you would like to save the session if modification have been made since the last save plus you ll be prompted so save any modified but unsaved waveforms Close Only Non Session Waveforms Select this function to close all waveforms that aren t being used in the current session You ll be promp
204. ced in the Edit View s Wave Display Mix Down to File Mono Run this command which is only show when multiple blocks are selected to combine the selected blocks into a new mono waveform which is automatically placed in the Edit View s Wave Display Group Blocks This option will group any selected blocks together Grouped blocks are designated by a different color than ungrouped blocks as well as a special circular symbol overlaid each block This feature is fully documented in the Edit Menu Multitrack View chapter Group Color This command invokes Adobe Audition s Group Color dialog which allows you to change the color of the current group of blocks Select from one of 32 preset hues by clicking on it You may also use the slider to find a color or you can directly enter a hue value from 0 to 255 in the field provided Note The Block Context menu s Group Color command is only displayed when you have blocks that have been grouped x Basic Hues EERE Ce el EEE hi ER Se mas f EEE E E Cancel Group Color Dialog 264 CHAPTER 13 Navigating the Multitrack View Block Color This command invokes Adobe Audition s Block Color dialog which allows you to change the color of the current block Select from one of 32 preset hues by clicking on it You may also use the slider to find a color or you can directly enter a hue value from 0 to 255 in the field provided CE x Basic Hues Sais Jmj
205. cel Stop Attn dB Preview Hep Scientific Filter dialog The four most common types of higher order filters are available Bessel Butterworth Chebychev 1 and Chebychev 2 Each one has different characteristics for how steep the transition bands are at the cutoff points and how much the filter attenuates Butterworth is generally the best compromise between quality and desired precision Each filter is visualized on the Scientific Filters graph with one line showing frequency response measured in dB and the other displaying either phase measured in degrees or group delay measured in milliseconds depending on whether the Phase or Delay option is selected Increase the graph s display range by checking the Extended Range box Note Some of the following functions are common to all four types of Scientific Filters while others apply to just certain filters Low Pass This setting passes the low frequencies while rejecting or removing high frequencies You must specify a cutoff point in order to determine the starting point at which the frequencies will be passed or rejected High Pass This setting passes high frequencies and removes low frequencies You must specify a cutoff point in order to determine the starting point at which the frequencies will be passed or rejected Band Pass This mode preserves a range of frequencies that is a band while removing all other frequencies You must specify two cutoff points to define the
206. ch consists of two tabbed panes the Track Mixer and the Bus Mixer as well as a slider that controls the master volume of your session The Mixers window is dockable which means you can reposition it at one of several places in the Adobe Audition interface Or you may detach it and have it float above Adobe Audition s main window The Track Mixer s interface mimics a real world mixing console It gives you an alternative to Adobe Audition s session window by providing a broader overview of your mixing project especially if yowre working with more than a handful of tracks at once ADOBE AUDITION 285 User Guide Track output device output bus Jia Bus wet dry mix Cece D Tracks Mixer window The Bus Mixer pane provides the controls for adjusting the output of up to 26 of the available buses you can have in Adobe Audition as well as many other bus parameters Bus Mixer window Even if you don t use the Mixers window you might want to dock it and resize it so that only the master volume slider Q is visible You ll be surprised how often this slider will come in handy 286 CHAPTER 15 View Menu Multitrack View Tracks Mixer Tab Here are the major components of the Tracks Mixer View Display Buttons These six buttons Out Bus FX EQ Pan and M S allow you to customize the appearance of the Tracks Mixer Each button corresponds to a different element of the Tracks Mixer interface e
207. ching to doesn t contain the currently selected time location as in a 5 sec waveform in our example then switching acts this way as well Windows Recording Mixer Select this command to display the Record Control part of the Windows Mixer a k a Volume Control so that you adjust sound card recording levels Scripts amp Batch Processing Adobe Audition scripts allow you to save a series of actions such as a cut paste or applying an effect to be performed again with the click of a button Scripts which are simple text files are similar to macros the exact movements of your mouse and any tweaking of parameters are stored ready to be repeated in the same sequence when recalled Scripts and Batch Processing e x Script Collections New Script Sound Effects Open New Collection Title om nmam Ted s Script a ong Record IV Pause at Dialogs IV Alert when complete FiEsecuta Relaveto Le Cnet Enter title and click Record to make a new script Stop Current Script Dr Who style sound effect a High Script Works on Current Wave Scripts and Batch Processing Dialog As an example suppose you have a combination of effects with particular settings an EQ setting a Hall reverb etc that you like to apply often and in combination to achieve a certain sound You can record these steps along with specific settings to be carried out again by simply calling
208. cially for windows that are only useful when viewed in a certain aspect ratio Note More information on Placekeepers can be found in the Looking at the Work Area chapter Display Time Format The Display Time Format menu lets you choose between several time display readouts including Decimal Compact Disc different versions of SMPTE Samples Bars and Beats and Custom time code frame rates Adobe Audition will then use the format chosen here when referencing time the Time window the x axis time ruler time status boxes Status Bar etc Note More information on the Display Time Format menu can be found in the View Menu Edit View chapter Toolbars Use this menu to specify to specify which if any groups of icons youd like to display on Adobe Auditions Multitrack View toolbar Checkmark the desired icon group s to display If no items are checked the toolbar area will disappear until you check at least one icon group Options are also provided to limit how many rows of toolbar icons Adobe Audition displays at any one time one row two rows or three rows Status Bar Access the items on the Status Bar submenu to turn on Adobe Audition s status bar which runs along the bottom of the Adobe Audition window as well as decide which information fields you wish displayed in the status bar You can also find this menu by right clicking on the status bar To hide the Status Bar right click on it and select the
209. common to both Edit View and Multitrack View such as the Level Meters and the Transport Buttons are documented in the Looking at the Work Area chapter while all of the items referenced on the Edit View s drop down menus are explained in the Edit View menu chapters About Edit View The following is a typical layout for Adobe Audition s Edit View Screen E Smooth R amp B way Files Effects Favorites alal s Namooth R amp B waw a Light uay Organizer Window Robbie wav Oooo 0 16 00 0 20 00 Begin MMe Laces Le Transport Buttons Time Displa Level Meters A typical Edit View screen with the Organizer Window open H 0 00 04 30 38 CHAPTER 4 Navigating the Edit View Stereo vs Mono If a stereo waveform is loaded the Wave Display is split horizontally The waveform s left channel appears at the top of the window while the right channel is at the bottom A stereo waveform The total height of the Wave Display window is utilized for mono waveforms A mono waveform Navigating the Wave Display The following movements are crucial to navigating the Wave Display window Defining a Range Left click on one side of the range portion you want to select and drag left or right Changing Range Boundaries Hold down the Shift key and left click on the range boundary you want to move and drag the boundary to its new location Select All Double click in the Wave Display to select all of the
210. ct echoes coming from different locations If a reverb is too smooth it may not sound natural Values up to about 40 will give just enough variation to the reverb Q to simulate small room variations Set Reverb based on Early Reflection Room Size For convincing sounding reverbs the tail length should be correlated with the feeling of room size given by the Early Reflections Pressing this button will adjust the Total Length and Attack Time to roughly match the room size given in the Early Reflections tab After these are set youre free to fine tune the length and attack time to change the effect 131 132 CHAPTER 8 Effects Menu Edit View Early Reflections Tab Fu Rever i xf General Reverb Early Reflections Coloration Presets Add Del Room Size 4 _ gt 52351 m3 Bottom of the Banel 2 rc Dimension Ki T gt 815 wid Empty Living Room f 5 Football Referee Left Right Location al H gt 57 Football Referee 2 x Furnished Living High Pass Cutoff gt 20 Hz Grand Canyon Actual Room Dimensions 41 8 x 51 3 x 24 3 m Current Reverb Length 4712 ms Current Attack Time 720 ms ae poo Mixing Original Signal dy 4 E gt Early Reflections al F gt Reverb wet 4 E gt 118 5 Boo Cancel V Combine Source Left and Right Preview Help Full Reverb dialog Early Reflections tab Room Size This is the actual volume of the virtual room as measured in cubi
211. ct using the current settings when you actually commit to the Delete Silence command If you have an audio presentation that consists of many cuts separated by silence such as a reel of several jingles use Edit gt Delete Silence to make sure the duration of silence between each cut is the same For instance if the difference between cuts 1 and 2 is 3 2 seconds the difference between cuts 2 and 3 is 4 1 seconds and the difference between cuts 3 and 4 is 3 7 seconds you can use Delete Silence to make the silence duration between all four cuts exactly 3 seconds Trim Use Trim to get rid of unwanted audio like silence on one or both sides of the selected audio Essentially Trim is the exact opposite of the Delete Selection command Everything in the waveform is removed except for the highlighted selection Note Remember that the deleted portion s aren t copied to the clipboard and can only be retrieved using the Edit gt Undo command or by File gt Revert to Saved if you haver t saved the file since trimming Zero Crossings This command adjusts the starting and ending points of the current selection to the nearest place where the waveform crosses the center line zero amplitude point ADOBE AUDITION 67 User Guide Having a selection start and end on a Zero Crossing is useful in deleting or inserting a selection in the middle of a waveform If you don t line up the amplitudes at zero in this case on both sides of the se
212. ction to a lower volume otherwise the convolution will come out extremely loud e Add Echo Pressing this button will add the bandpassed echo to the impulse at the delay and left right volumes specified You can add as many echoes as you like Note To add a tick at any volume enter the volume percentages after the Left and Right settings and the Delay at which the tick should appear This will cause an echo of the specified volume to occur at the given delay after convolution Besides just echoes you can add filtered versions of echoes by entering the minimum and maximum frequencies to echo To echo all frequencies outside the range add a full spectrum echo e g from 0Hz to 22050Hz at a specific delay then add another echo at the same delay but with different minimum and maximum values and the opposite Left and Right percentages e g at 100 instead of 100 e Delay This parameter sets the amount in milliseconds by which samples are delayed For pre echoes place at least one echo that is full spectrum Minimum 0Hz Maximum 22050Hz at a larger delay like 1000ms Then any echo placed before 1000ms will be a pre echo e Left This setting specifies the left volume in percent at which to make the echo or selection being added to the impulse e Right This setting specifies the right volume in percent at which to make the echo or selection being added to the impulse Global Settings These settings effect how the given impulse
213. ctor e Transition Ci Cancel ddau FFT Filter dialog The noise level of the FFT Filter is lower than that of 16 bit samples so when processing audio at 16 bit resolution or lower there should effectively be no extra noise induced by the FFT Filter For example the stop band noise of a Blackman window will be below the 96dB mark For optimal results filter using 32 bit samples If your source audio is 8 bit or 16 bit try converting to 32 bit to do the filtering and when done you can convert back to the lower resolution with dithering This will produce better results than processing at lower resolutions especially if more than one transform will be performed on the audio Passive Logarithmic Buttons Select Passive mode to express frequency changes boosts or cuts in terms of percentages where a setting of 100 represents no change Select Logarithmic mode when you want to express changes in terms of dB where 0dB represents no change ADOBE AUDITION User Guide View Initial Filter Graph View Final When the Lock to Constant Filter box isn t checked you can choose both an Initial and a Final filter setting Filtering will gradually go from the initial state to the final state The rate at which the filter migrates from the initial to final settings depends on the Transition Curve settings Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the
214. currently highlighted in the Scripts List There are three possible script types Script Starts from Scratch Script Works On Current Wave and Script Works on Highlighted Section Each operates respectively on either the entire waveform a selection of a waveform or from scratch The type of script currently selected will darken leaving the other two grayed out Note Again to create a particular type of script simply match Adobe Audition s current state with that of the target for the script For example if you wish to make a script that starts from scratch close all open waveforms before recording the script Note While all scripts will be displayed in the script list only scripts whose type matches your current status open waveform with a highlighted selection for instance will be allowed to run Q A single script can be run on a batch of files by pressing the Batch Run button For more information see Batch Process 211 212 CHAPTER 12 Options Menu Edit View Batch Process Use this part of Adobe Audition to run a single script repeatedly over a group batch of source files To open the Batch Process dialog press the Batch Run button on the Scripts and Batch Processing window r Source Files 7 file s selected The script Lost in Space will be run on all the selected files bx C Sounds SFX Africanish Thumb Piano wav Add Files C Sounds SFX Mirplane Pass By way hides C Sounds SFX Anwil Hit
215. cy Band Splitter to take a selected waveform block or a highlighted portion thereof and make up to 8 copies of it with each copy assuming a different frequency range of the original Split points are determined by the crossover frequencies specified Each copy of the waveform is placed in its own track in the session window ADOBE AUDITION User Guide xi Bands Crossovers Output Waves Presets Add De r B00 weKy PAMS Jingle 0H2 800H2 2 weKyY PAMS Jir 800H2 3200H C 3 3200 ngel 2 a A ro weKy PAMS Jingle 3200H2 7000H2 eo very PAMS Jingle 7000H2 8000H2 G weKy PAMS Jingle 8000H2 22050Hz 6 7 8 3000 10000 TE 11000 J a e eege I FIR Filter Size 320 Close men Cancel Frequency Band Splitter Dialog For instance using the default setting of 3 bands with crossover values of 800 and 3200 three copies of the selected waveform are made one that has the frequencies of the selected wave from 0 to 800Hz one from 800 to 3200Hz and one from 3200 to 22050Hz or whatever the maximum frequency present is based on the sample rate To initiate the Frequency Band Splitter dialog e Make a selection that covers the part of the wave block you want to process e Ctrl Left click the wave block you wish to process to give it focus e Access the Frequency Splitter from the Effects pull down menu the Effects toolbar or the Effects section of the Organizer window Note If you have more than one wave block
216. d 31 Hz down Gain f0 dB Graph ctual Response Master Gain p Close Add Sloping Low End Boo Range I Bypass _Lancel_ paar e Ged a Graphic Equalizer dialog 30 Bands tab serpii ALAE A oe of ot ot ot haf of Accuracy feoo points Presets Simple High Cut Simple High Lift Adobe Audition s Graphic Equalizer is implemented as an FIR Finite Impulse Response filter which maintains phase errors over the response curve unlike IIR filters which can have phase error often audible as a ringing quality This means that to gain higher accuracy in the lower frequencies a higher accuracy the size of the FIR filter must be used The bands can be spaced at either one octave one half octave or one third octave intervals with the appropriate Q setting such that if adjacent bands are boosted the result has no drop outs at intermediate frequencies Bands Tabs The Graphic Equalizer bands are spaced at either one octave 10 band one half octave 20 band or one third octave 30 band intervals Select the appropriate tab to access the number of EQ bands you need As you might expect the 10 bands mode offers more general equalizing while choosing 20 or 30 bands will let you zoom in on specific frequency ranges more precisely Other than the number of bands the controls in each tabbed Graphic Equalizer window are identical Reset All to Zero This button sets all sliders to 0dB so there s no equal
217. d as well 60 CHAPTER 5 File Menu Edit View 61 Chapter 6 Edit Menu Edit View he Edit Menu displays all of the options that have to do with basic waveform editing in the Edit View mode Undo This command reverses the last action as long as the Undo function is turned on see Enable Undo Redo below Adobe Audition conveniently tells you which action yowre undoing For instance this menu item might say Undo Delete or Undo Normalize If you haven t yet edited a waveform or Undo has been disabled this menu item says Can t Undo or Undo Disabled instead If you forget which editing action you last performed on a waveform check out the Undo item on the Edit menu to jog your memory whether you want to undo the action or not About Undo Adobe Audition s Undo information is stored as a temporary file on your hard drive If the Undo function is enabled in the Systems tab of Options gt Settings an unlimited number of undos can be retained Actually the number is only limited by the amount of free hard disk space All changes are automatically saved as one or more files in your temporary folder as long as the waveform is open in Adobe Audition even after it s been saved to disk This gives you the freedom to experiment or make mistakes knowing that Adobe Audition s Undo function is there to cover your backside when you want to revert back to the last edit you performed When working with very large audio
218. d decoded If you make the left channel 180 degrees out of phase this is the same as just inverting one channel it ll play on the rear speakers when decoded You can create simulated stereo by creating a zigzag pattern that gets zigzaggier at the high end on one channel Put two channels together that have been processed in this matter using a different zigzag patterns for each and the stereo simulation is more dramatic This would have the same effect as making a single channel twice as zigzaggy If you adjust the phase of one channel in just a small frequency band first then use Flange or another Adobe Audition Q effect that depends on phase you ll get different results than with non pre phase shifted audio Splines Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve Use spline curves when you want very smooth curves instead of straight lines with their discontinuities at the control points To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the Spline Curve will be to those points 360 Range When checked the graph s y axis vertical ruler goes from 360 degrees top to 360 degrees
219. d in this format will automatically be expanded to 16 bits when loaded so you should not save to this format from 8 bit Options Choose from the following e A Law 8 bit is a slight variation of the standard mu Law format and is found in European systems e mu Law 8 bit is the international standard telecommunications encoding format and is the default option 30 CHAPTER 3 Wave File Formats Supported by Adobe Audition ACM Waveform wav Nearly any file format supported by the Microsoft Audio Compression Manager ACM can be loaded or saved in Adobe Audition The available ACM formats are displayed in the Choose ACM Format dialog that appears when you press the Options button on the Save Waveform As dialog Note The ACM driver you want to use may require that the file be in a specific format before saving For example if you want to save a file in the DSP Group TrueSpeech format you should first use Edit gt Convert Sample Type to convert the file to 8KHz mono 16 bit because that s the only format supported by the TrueSpeech ACM driver For more information on any particular ACM driver contact the creator of the format such as DSP Group for TrueSpeech or CCITT for the various CCITT formats or the manufacturer of the hardware that uses the format in question Options Set the following e Name displays the name of any saved format presets Three are provided initially CD Radio and Telephone Quality e Save As Click
220. d put the track into record mode e You can position the playback cursor sometime before the Punch In location and press the Record button The session will begin playback and upon hitting the Punch point will record into the selected area e After recording you can take another pass at the Punch When finished you can monitor the different takes by right clicking on the waveform block and choosing them from the Take History menu option Use the desired Merge Take command on the right click menu when you ve decided among them Note Whenever one or more Punch Ins has been performed within a wave block a Take History option will be activated Punch Ins and Take History are both available by right clicking on the wave block The Take History option lets you revert the waveform block back to any previously available take level This essentially acts as a selective undo function allowing you to choose any change level between its original un punched state and the current waveform level ADOBE AUDITION 265 User Guide Note You can t use Punch In on video or MIDI blocks If possible choose sections of the waveform where there are gaps in the audio for your Punch points This will make it Q easier to achieve a natural sound as if it were all one take Crossfade Crossfades are used to create smooth transitions from the end of one audio segment to the beginning of another They do so by creating a fade out and a fade in over the transition
221. d right channels are 180 degrees out of phase This means that the waveform is inverted This is the same as choosing the Invert effect from the Effects menu At 90 degrees right only the right channel is inverted At 90 degrees left just the left channel is inverted In the range of 45 to 45 degrees the results are identical to Adobe Audition s Pan Expand effect panning the center channel left or right while panning the surround channel the opposite direction Rotation This graph represents the rotation of the stereo field over time Use the graph to position the stereo field anywhere from hard left the top of the graph or hard right the bottom of the graph at any specific point in time The x axis horizontal border of the graph shows the waveform s timeline while the y axis vertical border displays the number of degrees off center for the left and right channels Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Spline Curves Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points
222. de Sel View Controls The Sel View Controls window Sel is an abbreviation for Selection shows the beginning and ending points as well as the total length of both the selection and the section of the waveform or session that s currently viewed Both the selection and display range is shown using the current time display format which is selected in View gt Display Time Format Left click on any one of the individual value windows to directly enter numeric time display data A subsequent right click calls up a copy paste and options selection box Sel View Controls ADOBE AUDITION 27 User Guide Since Sel View Controls is a dockable window you can reposition it at one of several places in the Adobe Audition interface You may also detach the Show Sel View Controls window and have it float above Adobe Audition s main window To close the Sel View Controls window when it s floating click on the X control in its title bar To get rid of the Sel View Controls window when it s docked right click on its grab bar and select Close from the pop up menu Or you can simply uncheck the Show Sel View Controls item on the View menu to close it in either docking or floating mode Status Bar The Status Bar window runs along the very bottom of Adobe Audition s main window It can display information such as sample format file size and free disk space Stopped R 10dB 0 0257 49 44100 16 bit Stereo 4203MB 610GB fee 4 Statu
223. decrease over time placing each voice slightly out of tune with the others which is what gives the effect of a separate voice For example a value of 2Hz means the delay used could vary from no delay to the maximum delay and back twice each second sort of a pitch vibrato at 2 times a second Please note that this is only a maximum if you set it to 2Hz it may only go part way between zero and the maximum delay and then start cycling back before reaching the maximum e If this setting is very low the individual voices won t vary much in pitch at all e Ifitis set high the voices may vary so quickly that warbling effects can be heard Feedback Use this setting to include a certain percentage of processed chorused voices back into the mix This can give your waveform an extra echo or reverb effect Note Be very careful with this setting Just a little feedback less than 10 can give an extra richness to the effect and even this depends on the delay and vibrato settings If too much feedback is used more traditional feedback noise will be heard like loud ringing or other artifacts These may get so loud that they will clip and destroy the signal However sometimes this can be a desired effect as in the Flying Saucers setting where it generates sounds that are reminiscent of warbly UFOs whizzing around your head Spread The spread setting gives an added delay to each voice separating them in time by as much as 200 milliseconds 1 5
224. details please visit http mp3licensing com Contains an implementation of the LZW algorithm licensed under U S Patent 4 558 302 Notice to U S government end users The software and documentation are Commercial Items as that term is defined at 48 C F R 2 101 consisting of Commercial Computer Software and Commercial Computer Software Documentation as such terms are used in 48 C F R 12 212 or 48 C F R 227 7202 as applicable Consistent with 48 C F R 12 212 or 48 C F R 227 7202 1 through 227 7202 4 as applica ble the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U S Government end users a only as Commercial items and b with only those rights as are granted to all other end users pursuant to the terms and conditions herein Unpublished rights reserved under the copyright laws of the United States Adobe Systems Incorporated 345 Park Avenue San Jose CA 94110 2704 USA For U S Government End Users Adobe agrees to comply with all applicable equal opportunity laws including if ap propriate the provisions of Executive Order 11246 as amended Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 38 USC 4212 and Section 503 of the Rehabilitation Act of 1973 as amended and the regulations at 41 CFR Parts 60 1 through 60 60 60 250 and 60 741 The affirmative action clause and regulations contained in the preceding sentence shall be i
225. devices together ActiveMovie See DirectX ADAT A digital 8 track tape deck manufactured by Alesis Corporation that has been very popular in recording studios Aliasing Noise that occurs from sampling a high frequency sound at a sample rate that is less than what is required to represent that frequency A certain sampling rate can represent a frequency equal to half its rate the Nyquist Frequency Amiga IFF 8SVX See IFF or SVX Amplitude Amplitude represents the loudness of a signal A waveform s amplitude is measured by its distance from the center line which represents a 0 amplitude value There are different standards for measuring amplitude with decibels dB being the most common Analog Recording This is the recording of the ongoing changes of an audio waveform The analog recording of audio is a continuous curve as opposed to digital recording which is based on discrete samples AIF See AIFF AIFF This is Apple s standard wave file format Like Windows WAV AIFF files support mono or stereo 16 bit or 8 bit and a wide range of sample rates Adobe Audition only supports the PCM encoded portion of the data even though this format like Windows WAV can contain any one of a number of data formats The AIFF format is a good choice for PC Macintosh cross platform compatibility Extensions are aif or snd 354 ASCII Text Data Audio data can be read to or written from files in a standard text format with each sample separated
226. ding you have enough free space on the drive that holds the primary temporary folder Adobe Audition will work just fine if no Secondary Temp folder is specified Undo Everybody makes mistakes or changes their mind Adobe Audition s Undo feature lets you revert back to your last edit with the press of a hotkey Ctrl Z menu command or toolbar button Think of it as a virtual safety net 217 218 CHAPTER 12 Options Menu Edit View e Enable Undo If this box is checked the Undo function is active Because Undo requires extra desk space for its temporary files and time to save them before processing sometimes you may want to turn this feature off by unchecking this box e Levels minimum Specify the least amount of Undo levels in this field e Purge Undo Push this button to delete all of Adobe Audition s Undo files This will free up disk space but you won t be able to revert to any previous edits Delete Clipboard files on exit If this option is checked Adobe Audition automatically purges its clipboard files when it s closed It s generally a good idea to leave this option enabled since nearly all of the time when you re finished with an Adobe Audition session these clipboard files are no longer needed and would just take up valuable hard disk space Uncheck this box to retain Adobe Audition s clipboard files on your hard drive after you exit the program Force complete flush before saving When checked this opti
227. directly from memory to a device without passing through the CPU Hardware that uses DMAs can pass data much more quickly DMA addresses can not be shared between multiple devices 357 358 Dry Used to describe an audio signal without any signal processing such as reverb the opposite of Wet DSP See Digital Signal Processing DVD Digital Video or Versatile Disc A storage medium similar to Compact Disc CD but with much higher bandwidth and storage capabilities Audio stored on DVD movies is generally 96 kHz 24 bit DVI See IMA ADPCM DWD This is the audio format used by DiamondWare s Sound Toolkit a programmer s library that lets you quickly and easily add high quality interactive audio to games and multimedia applications It supports both mono and stereo files at a variety of resolutions and sample rates Echo A distinct repetition of a sound due to the sound reflecting off a surface Adobe Audition offers two Echo Effects Echo and Echo Chamber each with several settings Envelopes Adobe Audition uses several types of envelopes Pan Volume Wet Dry and FX Parameter for mix automation The envelopes can be drawn directly on the blocks in the Multitrack view and represent the pan volume wet dry and or FX parameter settings at any point along the track For instance when the volume envelope is at the top of the wave block the audio is at full volume and when it is at the bottom it s at zero volume Equalization
228. dition s Previews are dynamic this gives you the opportunity to make and hear amplification adjustments as the selection is looped Check the Bypass box to hear the waveform without any changes in amplification for a quick before and after comparison Channel Mixer J x piae ata Presets Add Del _ Preview ial iim Average a J Bypass al gt Both Left n a 100 Both Right P Invert Full Mix Inverted verage New Right Channel a A MinSide Laj gt fica No Mixing Close R4 L Ifo Cancel V Invert Help Channel Mixer dialog Binaural Auto Panner The Binaural Auto Panner spatially locates the audio left and right in a circular pattern over time In order to spatially encode the signal either the left or right channel is delayed so that the sounds will appear at each ear at different times tricking the brain into thinking they are coming from either side ADOBE AUDITION 101 User Guide Presets Add IY Do Delay Only Spline Curves Flat Bottom Graph Settings Top Graph Settings Pan Cycling Rate H2 Pan Cycling Rate Hz al m 21f5 a E gt ifo Intensity Intensity Close 4 50 4 gt 50 Left Centering Right Left Centering Right I Bypass Cancel al 10 s 110 Preview Help Binaural Auto Panner dialog Frequency Graph Time is represented along the x axis horizontal edge and frequency along t
229. docking location If this is where youd like the dragged window to appear release the left mouse button and the window will snap into its new location To close a docked window right click on its handle to see a pop up menu with a Close option Check this option and the window will disappear Don t worry if you change your mind since you can bring back any closed dockable window by checking its name on Adobe Audition s View menu A docked window s right click menu also contains an option called Force New Row If this item is checked a new empty row to dock windows is created To move a floating window left click on its title bar and while holding down the left mouse button drag the window to the desired location Close a floating window by left clicking on the X control in its title bar To dock a floating window left click and drag it while holding down the left mouse button As you move it around the Adobe Audition interface potential docking locations will appear you ll see the resize bar of dockable windows light up wherever docking is possible If this is where youd like the floating window to dock release the left mouse button and the window will snap into its new home Press the Ctrl key while moving a floating window around to force it to not dock That way you can float it over an area e that it would normally try to dock to Placekeepers Select Show a Placekeeper from Adobe Audition s View menu to crea
230. e If a Q box isn t grayed out you can adjust the Q number by left clicking on the box and dragging Dragging to the right increases the Q number while dragging to the left reduces it e Band Buttons By default only the Mid Q in the Track EQ window is active but by pushing one or both Band buttons you can activate the Low Q and or Hi Q settings This in effect gives you the control of a parametric equalizer e Frequency Sliders Use the vertical Lo Mid and Hi Frequency Sliders to adjust the EQ curve s low middle and high frequencies respectively Drag a slider to the right or click on the arrow on the right of the slider to increase the slider s frequency while moving it to the left or clicking on the arrow to the left of the slider reduces the frequency You may also specify the slider s frequency by directly entering the desired Hz value in the text box to the right of the frequency slider e Amplitude Sliders The horizontal Lo Mid and Hi Amplitude Sliders to are used to increase or attenuate the EQ curve s low middle and high frequencies respectively Move a slider upwards or click on the arrow at the top of the slider to raise the frequency s amplitude while bringing it down or clicking on the arrow to the bottom of the slider decreases the amplification of the frequency You may also specify the slider s amplitude by directly entering the desired dB value in the text box at the bottom of the amplitude slid
231. e SMPTE Master Enable SMPTE Start Offset Sample Accurate Sync Pause Background Mixing Metronome WA ixe Settings F4 Device Properties Device Order Shortcuts Keyboard amp MIDI Triggers The Multitrack View s Options drop down Menu Adobe Audition s drop down menus offer quick and easy access to all session and audio file handling editing and signal processing functions as well as options viewing properties and help Complete details about the commands found in both the Edit View and Multitrack View s drop down menus can be found later in this manual Toolbars Many of Adobe Audition s most commonly used functions are represented as icons within toolbars which appear near the top of the main interface These icons give you instant access to effects file handling functions viewing options and more at the press of a button ISP SRBACE The Edit View s Edit Toolbar You can decide which sets of toolbar icons to display by going to View gt Toolbars or right click on the toolbar area and checking or unchecking the desired toolbar group s Another option is to limit how many rows of toolbar icons Adobe Audition displays at any one time one row two rows or three rows Note To see what a toolbar button does hold your mouse pointer over it to display a small tool tip that describes the function in simple terms ADOBE AUDITION 17 User Guide Organizer Window Ado
232. e Use your mouse to switch the ball to three possible positions hard left zero pan and hard right The other pan control shows the current pan value and provides a more precise way of adjusting pan To change the pan value for the bus select the pan field hold down your left mouse button and drag Dragging to the right pans the bus to the right channel while dragging to the left pans the bus to the left channel 290 CHAPTER 15 View Menu Multitrack View Mute Solo Buttons The M Mute button turns off the output of the bus You can mute as many busses as you want by clicking on their M buttons Press the S Solo button to solo the bus To solo multiple buses hold down the Ctrl key as you click on their S buttons Bus Faders The fader is used to adjust the adjust the bus relative volume in the mix Move the fader up or click on the arrow above the fader to increase the volume move it down or click on the arrow below the fader for a volume reduction You may also directly specify the bus volume by entering a dB value in the text box above the fader Show Track EQ Window Activate this item to display Adobe Audition s Track Equalizers window which gives you more control over a track s equalization than the EQ tab in the Track Controls Track tabs gt Expand collapse i l H Amplitude sliders o d muny n pn 100 1000 10000 Frequency sliders Track Equalizers window The Track EQ window is dockabl
233. e power you need in a fully integrated audio toolset Sound Your Best Adobe Audition enhances your sound with the following advanced audio features Highest quality audio Record edit and mix high resolution 32 bit files using any sample rate up to 10 MHz including standard rates such as 44 1kHz 88 2kHz 96kHz and 192kHz Support for 24 bit 96kHz recording ensures DVD ready sound Sample accurate editing Be as precise in your cuts as you like Edits can be accurate down to the sample level and can be automatically snapped to zero crossings short crossfades can be added for smooth pop free cuts every time and quick fades can be added using keyboard shortcuts Check for in phase material and mono compatibility in the Phase Analysis window and use the Frequency Analysis window to take snapshots of frequency FFT data and export that information to the clipboard Powerful DSP tools and effects Work with more than 45 DSP tools and effects mastering and analysis tools and audio restoration features Adobe Audition includes standard effects such as Reverb Delay Dynamics Processing and Flange as well as advanced processing such as Parametric Equalizer Scientific Filters Doppler Shifter Hard Limiting Noise Reduction including click and pop elimination and Time Pitch stretch Adobe Audition also supports third party DirectX plug ins 4 Adobe Audition at a Glance Precise sample rate conversion Convert audio sample rates with con
234. e which means you can reposition it at one of several places in the Adobe Audition interface Or you may detach it and have it float above Adobe Audition s main window Here are the major components of the Track EQ window Track Tabs The first time you click on any track in Adobe Audition s session window a tab is added for that track to the Track EQ window Click on a tab which contains the name of the track to adjust its associated track s settings The X control to the immediate right of the Max View control closes the active tab Note You won t be able to see the Track tabs if the Max View window display option is selected Max View When you press this control which looks like a small arrow pointing upward you switch to Max View All of the tabs disappear and the controls for the selected track expand to fill the Track Equalizers window To return to the Track Tabs view press the Restore control the small arrow pointing downward Expand Collapse Use the Expand and Collapse arrows which point to either the right or the left to show or hide the equalization frequency and amplitude faders and their associated text entry boxes as well as the Band buttons ADOBE AUDITION 291 User Guide Graph The graph shows the track s current equalization curve The graph s x axis horizontal ruler measures frequency while the y axis vertical ruler represents amplitude You can drag the three control points which
235. e 100 only a very narrow band will be affected which is ideal for notch filters where only a particular frequency needs to be removed like a 60 cycle hum You should be aware that whenever a very narrow band is boosted it will tend to ring or resonate at the audio at that Q frequency Q values of 1 to 10 are used most often for general equalization Constant Width Constant Q This parameter describes a frequency band s width This can be a Q value which is a ratio of width to center frequency or an absolute width value in Hz Constant Q is the most common setting but you may want to use Constant Width if for example you want the length of ringing to be a constant no matter which frequency is being boosted Master Gain After the EQ settings have been adjusted the overall volume level might be too loud or too soft This can be compensated for by entering an overall master gain measured in dB to be applied to the resultant audio Presets Adobe Audition comes with several Parametric Equalizer presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Parametric Equalizer setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played ADOBE AUDITI
236. e Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Spline Curves Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Flat The Flat button resets the graph to its default state by removing all control points Presets Adobe Audition provides several Pan Expand presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Pan Expand setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Check the Bypass box to hear the waveform without any changes in panning or expanding for a quick before and after comparison Automated When u
237. e Audition More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Echo setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Echo Chamber The Echo Chamber function can simulate the ambiance of almost any room Settings are provided for specifying your virtual room s size and surface characteristics along with the placement of virtual microphones The number of echoes is adjustable up to about 25 000 Keep in mind that the more echoes there are to calculate the longer it will take for the function to complete 125 CHAPTER 8 Effects Menu Edit View Echo Chamber E xj m Room Size fee r Settings Width Length Height Intensity Echoes Presets Add Del fi 00 jeo 9 10 1700 Ambient Metal Room Basement m Damping Factors Empty Parking Garage Left Right Back Front Floor Ceiling Expand Small Room m Signal and Microphone Placement feet Source Signal Microphone Left Right Left Right DxFromLeft wall 45 55 feo a0 Damping i wae Ok Dx From Back wall 20 20 50 50 Hz Close Dx Above Floor 4 4 5 5 E Cancel J Mix Left Right Into Single Source Preview Help Echo Chamber dialog Wooden Co
238. e Block Context menu e To see the Track Context menu right click on a track anywhere there isn t a block 242 CHAPTER 13 Navigating the Multitrack View Inserting Existing Audio Into Your Session Unless youre recording a multitrack session from scratch the first thing that you ll probably want to do when starting a session is to begin loading existing audio files into the Multitrack View s session window Adobe Audition provides several ways to do this including dragging files from the Organizer window but for many people the most straight ahead method is through the Insert menu Insert Effects Options Help Weave from File Midi from File Video from File Audio from Existing File Cue The Insert Menu The Insert menu provides commands for inserting Wave MIDI Video and Video Soundtracks from any drive attached to your system as well as the ability to insert files and cues that are already open in Adobe Audition s Edit View You may also right click on a track and select from a similar Insert item Recording New Audio Into Your Session Before you record into an Adobe Audition Multitrack session you ll need to enable the track s to which you want to record To enable a track for recording push the track s R button in the Track Controls Or you may right click in the track anywhere there isn t a block and select the Record item from the pop up menu Track 7 Solo Fea VO EO Solo
239. e Level Meters to go away To do that go to the View menu and uncheck Show Level Meters MIDI Trigger Enable By checking MIDI Trigger Enable any of Adobe Audition s shortcuts that have been assigned to MIDI events can be called from a MIDI keyboard a sequencer or any other device capable of issuing a MIDI command Disable this option if you don t wish to have shortcuts respond to MIDI events Note Before attempting to enable MIDI triggering you ll need to choose a device for MIDI In that s recognized by Windows such as a soundcard s built in MIDI interface or a MIDI interface card To do this go to Options gt Device Properties and click on the MIDI In tab Use the drop down list to select the input device to be used for triggering Synchronize Cursor Across Windows With this command check marked the playback cursor bar or currently highlighted selection will retain its position when switching between open waveforms within Adobe Audition For example if you are looking at 1 wav and highlight from 0 01 00 to 0 02 00 and then switch to 2 wav using the Window menu or the Organizer window 2 wav would also have 0 01 00 to 0 02 00 highlighted This can be useful if you re switching between different versions of the same waveform during editing ADOBE AUDITION 209 User Guide When unchecked the positions of each of the waveform s previous cursor or range areas will be retained and redisplayed If the waveform that youre swit
240. e This setting determines the volume level in percent of the tones generated where 100 means maximum volume without clipping Twist Twist refers to how much louder the higher frequency tone is from the lower frequency tone Enter a value measured in dB in the Twist field to increase the volume of the higher frequency tone accordingly Reset to DTMF Press this button to clear any custom frequency entries and replace them with the standard DIMF frequency combinations Presets This section allows you to recall and manage DTMF Signals presets More information about Presets can be found in the Looking at the Work Area chapter The presets in this function save everything including the dial string To see how effective these tones are try entering Q your favorite phone number to generate the tones for it Then hold the receiver of your phone next to the speaker and play the wave Your phone will dial the number you entered Preview Press this button to audition the current DTMF Signals settings before you apply them to the active waveform Noise This function generates random noise in a variety of colors Traditionally color is used to describe the spectral compo sition of noise Each color has its own characteristics ADOBE AUDITION 191 User Guide x Color Style Spatial Stereo 500 Seconds C Independent Channels Mono c Intensity al i gt po Cancel Duration seconds 10 Help
241. e Tune fields e Ifno loops are selected the center of the entire waveform is used to gain the current note Note This value can be off by a few hundredths of a cent so manual adjustment after finding the note may be necessary For instance you may get G 4 at 99 99 cents which would probably really be A4 and 0 cents SMPTE Format This field is used to enter in the SMPTE frame rate format for the currently loaded sample SMPTE Offset Use this field to enter the SMPTE trigger offset point for the currently loaded sample Example An audio file for a film soundtrack that would need to be triggered at 45 minutes 15 seconds and 29 frames might have a frame rate setting of 30 frames per second with an offset of 00 45 14 29 Sampler Loops New loops can be added by first highlighting the range area and then going to this dialog and pressing the New button If no area is highlighted New can still be pressed to add the entire waveform as a new loop The actual starting point ending point or length may also be entered in directly by hand in the appropriate fields Samplers can usually play loops forward backward or back and forth and back again Each loop can be looped a different number of times or infinitely as with a sustain loop and the infinite loop would decay once the synth key is released Currently this information is only saved in wav files 96 CHAPTER 7 View Menu Edit View Misc Tab xi Text Fields Loop Info EBU Exte
242. e amount of processing done Adobe Audition provides Real Time effects functionality with most of its effects in the Multitrack View and a Real Time preview of effects before they are applied in the Edit View Resample To recalculate a sound file s samples using a different rate than which the file was originally recorded Reverb The persistence of a sound after its source has stopped emitting it Reverb is a shortened version of the word Reverberation Many discrete echoes arrive at the ear so closely spaced in time that the ear can t separate them Adobe Audition offers three Reverb Effects Quick Verb Reverb and Full Reverb each with many settings Rip Ripping is the process of digitally extracting the audio from a compact disc and turning it into a waveform that s usually an identical copy of the original CD track s Most newer CD ROM CD R and CD RW drives support digital audio extraction ROM Read Only Memory Memory that cannot be written to after it is constructed Most computers have a small amount of ROM that holds software required to boot the computer Unlike RAM information in ROM stays when the computer is turned off Ruler The numbered controls to the right and below the Wave and Session displays The Horizontal Ruler can measure time CD frames time code samples and bars and beats in both Edit and Multitrack Views and includes scrolling and zooming functionality In the Edit View the Vertical Ruler measures sample
243. e audible try increasing this value to 48 then 64 etc The higher the FFT Size the slower the correction will be but with potentially better results However if the value is too high there may be some extra unwanted low frequency distortion which sounds rumbly If yowre repairing clicks one at a time using the Fill Single Click Now button then a high FFT size 128 to 256 should work rather nicely Pop Oversamples Is used to give the clicks a little extra buffer space when being repaired When a potential click is found its beginning and end points are marked as closely as possible The Pop Oversamples value which can go from 0 to 300 will expand that range and consider more samples to the left and right of the click as actually being part of the click If clicks aren t being corrected fully enough for example if clicks become quieter but are still evident try increasing the Pop Oversamples value Start with a value of 8 and increase it slowly to as much as 30 or 40 Audio that doesn t contain a click shouldn t change very much if it s corrected so this buffer area should remain mostly untouched by the replacement algorithm Increasing the Pop Oversamples value will also force larger FFT sizes to be used when the Auto box is checked This setting may remove clicks more cleanly but if set too high audio will start to distort where the clicks were removed Run Size Sets a ceiling on the potential distance between two click
244. e by dragging the Panner Point to the desired position It also keeps your stereo left and right signals from your track discrete when panning in the sound field For example if your track includes a stereo file the left stereo signal will be sent to the Front Left and Left Surround channels your track s right signal will be sent to the Front Right and Right Surround channels The Center channel always receives a summed to mono L R signal Therefore as you pan in the five channel sound field these stereo sources will retain their stereo image while being routed to the multiple channels Surround panner summed to mono This option allows you to use the Panning Interface to position your sound source However this option always sums the track s signal to a mono signal In this mode panning the sound source to any location in the sound field will result in the summed mono signal being fed to all channels LFE only Sends the entire track signal to the LFE channel Your monitoring system will apply the proper crossover frequency cutoff for reproducing the audio sent to the LFE channel Typically most LFE components in 5 1 surround playback systems are set to a cutoff of lt 80 Hz or lt 120 Hz The Adobe Audition Multichannel Encoder itself does not apply any filter to the LFE channel audio FL FR stereo Sends the selected track s signal as a stereo source directly to only the Front Left and Front Right speakers in a 50 50 stereo bal
245. e dialog IV Spline Curves ___ fet Amocaton fo OK Close Cancel Fel Graph The graph depicts time along the x axis left and right and the new output level along the y axis up and down with the blue line representing amplitude change 110 CHAPTER 8 Effects Menu Edit View Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Spline Curves Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Flat The Flat button resets the graph to its default state by removing all control points Amplification The value in the Amplification field specifies where the top of the graph is measured in percentage Then when you draw your envelope curve the top of the graph is whatever percentage you specify and the bottom is 0 The default value of 100 me
246. e environment you re specifying This means it takes more CPU power to perform the reverberations but they are much more natural sounding and easier to tailor Because every parameter change other than a mix level change requires a new reverb impulse to be built you may have to wait a few seconds after pressing Preview for the reverb generation process Once built the preview should generally run in real time and subsequent previews or pressing OK wont require rebuilding the impulse nor will adjusting any of the mix level controls or the Include Direct checkbox General Reverb Tab Full Reverb e x General Reverb Early Reflections Coloration TotalLenath 4 il gt fa7i2 ms Attack Time 4 Alpo ms Diffusion _ gt lfiss Perception 4 E fz Set Reverb based on Early Reflection Room Size Presets Add Del Bottom of the Barrel a Church Empty Living Room Football Referee Football Referee 2 Furnished Living R In the Shower 2 Large Auditorium Mixing Driginal Signal dy 4 H 59 x Early Reflections aj F gt 25 9 V Include Direct Reverb we 4 M 2 mes x Conce J Bypass hE IV Combine Source Left and Right Preview Help Full Reverb dialog General Reverb tab ADOBE AUDITION User Guide Total Length This is essentially the time measured in milliseconds that it takes for the reverb to decay 60dB However depending on the Coloration parameters cert
247. e file isn t a loop Number of Beats Enter the waveform s number of beats in this field When you do so the BPM Beats Per Minute is automatically calculated and entered into the Tempo box below Tempo This is the number of beats per minute in the waveform Enter this figure directly or when you fill in the Number of Beats field above the Tempo value is automatically calculated Key Use this drop down menu to enter the waveform s key This will cause the waveform to match pitch with a session that has a key specified when inserted into Adobe Audition s Multitrack View Don t know the key Press the Find Nearest button and Adobe Audition will scan the waveform to locate the closest match Tempo Matching Stretch Method Tempo matching determines how if at all the loop will stretch to match the session s tempo Four options are provided Ifthe Fixed Length option is chosen the file won t be stretched to match tempo e Select the Time Scale Stretch option to stretch the file just like Adobe Audition s Stretch effect to match the tempo of the session Options are provided for Quality High Medium or Low Frame Size the number of splices per beat and the percentage of Frame Overlapping e Resample will cause Adobe Audition to resample the loop to match the session s tempo and as such the pitch will be affected High Medium and Low Quality options are available e The Beat Splice option actually tries to cut up the
248. e flanged To quickly add an effect to a waveform block within the Multitrack View double click on it which will open the waveform in the Edit View window From there you can use File gt Save As to create a copy of the file that can be transformed using any Effect function The newly processed file can then be placed into the multitrack environment To add multiple effects to an existing waveform non destructively in Multitrack View 1 Create a copy of the waveform using Edit gt Convert to Unique Copy or by saving the file under a new name using Save As in the Edit View 2 Once a copy of the original file has been made add any processing or effect you like to it For effects that have wet dry balancing set them to 100 or close to 100 wet so the result is primarily effect The original waveform that you copied will provide the dry element 3 Insert the processed copy into the multitrack environment placing it into an adjacent to the original in a different track This way it will simultaneously playback both original file and the effected one 4 You can then vary the effected waveform s and the original s volume and pan envelopes to bring the wet dry in and out or pan right and left Repeat this operation for other effects to have separate control over a number of effects one for Flange one for Reverb etc ADOBE AUDITION 267 User Guide Mute Block This command mutes or unmutes the selected blocks This co
249. e frequency scale up and down as the window width decreases The default setting is 75 but you should lower the value 50 to 75 works best if you want to increase the resolution horizontally such as to find out exactly where a certain frequency starts Plot Style Choose an option e Logarithmic Energy Plot In this mode colors change with the decibel value of the energy at any particular time and frequency More details in the very quiet ranges can be seen in this mode especially if the Range is quite high above 150dB Use the Range value to adjust the sensitivity in plotting frequencies e Linear Energy Plot If this option is selected colors are chosen based on percentage of maximum amplitude instead of decibel amplitude Liner Energy Plot can be useful for viewing the general overview of a signal without getting bogged down by detail at much quieter levels The Scaling factor can be adjusted to highlight audio of different inten sities and can be thought of as a sensitivity value Waveform Display Choose an option e Show Cue and Range Lines Check this box to display the cue marker and range lines in Waveform View uncheck the box to hide them Cue marker and range entries in the Cue List are shown with vertical dotted lines overlaying the audio connecting the arrows from the top to the bottom of the display e Show Grid Lines Check this box to display the grid lines in Waveform View uncheck the box to hide them The grid lines
250. e has cues in it a plus sign will appear next to its name to let you expand that file out and see all the cue ranges in it This allows you to insert either the whole file or expand it and grab one of the cue ranges directly To place an item from the list at the session window s insertion point just click on it If you want to insert an item anywhere in the session window just drag it off the list and drop it on the desired track No matter which insertion method you choose the Insert into Multitrack window automatically closes ADOBE AUDITION 251 User Guide Mix Down to Track Bounce This functions performs a mixdown as the Edit gt Mix Down command does and places the result a mono or stereo file that exactly replicates the sound of your complete session in the selected track This process is commonly known as bouncing Session elements such as looping images effects and envelopes are all reflected in the mixed waveform You ll find the Mix Down to Track Bounce command handy for creating small sub mixes in the Multitrack View e All Waves Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform in the current track e Selected Waves Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform in the active track e All Waves Mono Selecting this option will mix all unmuted waveforms in the session to a mono wavef
251. e maximum amplitude of the audio 319 320 CHAPTER 18 Effects Menu Multitrack View Note The spikes occur because it takes a little time to determine the Level Detector s attack value and react the Gain Processor s attack value to the current signal level so Lookahead Time will actually cause the attacks to start before the audio gets loud instead of right on top of the transient Otherwise with a Lookahead Time of 0 a spike will stay loud until all of the attack times have elapsed Graph The graph depicts input levels along the x axis left and right and the new output level along the y axis up and down A line that flows directly from the lower left to the upper right which is the default depicts a signal that s been left untouched since every input value goes to the exact matching output value Adjusting the shape of the line will adjust the input or output assignments thereby altering the dynamic range For instance you can boost all input that has a level of around 20dB leaving everything else unchanged You can also draw an inverse line a line from upper left to lower right that will dramatically boost low amplitudes while dramatically surpassing high amplitudes In other words all quiet sounds will be loud and loud sounds will be quiet Note More information on Adobe Audition s graph controls can be found in the Looking at the Work Area chapter Splines Check this option to generate a smoother
252. e option in other situations may help with some types of clipping Try a setting of 40 for normal clipped audio However in general you can leave the FFT Size box unchecked When FFT Size is disabled Adobe Audition uses spline curve estimation Clipping Statistics These fields show the minimum and maximum sample values found in the current selected regions as well as the percent of samples clipped based on that data Gather Statistics Now Pressing this button will fill in the Clipping Statistics fields with information for the current selection or file Presets Adobe Audition comes with several Clip Restoration presets More information on presets can be found in the Looking at the Work Area chapter To restore clipped audio while retaining amplitude 1 Convert the file to 32 bit for more precise editing 2 Run Clip Restoration with no attenuation 3 Run Hard Limiter with no Boost but a Limit of about 0 2dB to bring the clipped audio back into normal range 4 Convert back to 16 bit if needed Hiss Reduction Use Hiss Reduction to literally carve out annoying hiss from cassette recordings record albums after using Click Pop Removal or microphone recordings It removes all audio in all frequencies that are below a certain threshold which is generally the noise floor or hiss level If audio has a constant background hiss then that hiss can be noise gated or removed completely Any audio in any frequency band louder than
253. e that will function as the exact opposite For example if an effect function with a compressor characteristic is being displayed pressing Invert changes the graph to one with the corre sponding expander characteristic Note For a graph to be invertible it must have points in the two default corners 100 100 and 0 0 and its output level must always increase from left to right i e each control point must be higher than the one to its left Traditional Tab x Graphic Traditional Attack Release Band Limiting Sections Compress x fa 21 Above Ratios 2 g Fiat z fi 21 Below 3 4 5 6 I Create Envelope Only preview as noise Dynamics Processing dialog Traditional tab c Flat fi 21 Below e Fiat z fi 21 Below c Flat fi 21 Below x Fiat z fi 21 Below Thresholds f20 dB E Z s aa Output Compensation gain fo dB Presets 2 1 Compressor lt 20dB 3 1 Compressor lt 10dB 3 1 Compressor gt 30dB 21E 4 1 Compressor De Esser High De Esser Hard De Esser Light De Esser Medium Add _Del p 4 1 above 20 dB nes below 20 dB ADOBE AUDITION User Guide The Traditional tab lets you enter ratios and thresholds numerically You can input Compress Flat or Expand settings for up to six sections or stages each with its own ratio and threshold setting Simply enter the data to match the compressor you want For exam
254. e track is locked ADOBE AUDITION 289 User Guide Equalization Fields The H M and L fields show the amount amplitude of high mid and low equalization frequencies applied to the track To change the H M and L values select the desired field hold down your left mouse button and drag Dragging to the right increases the value while dragging to the left reduces it Pan Controls Two types of pan controls for adjusting the balance of each track are included The control that looks like a small ball is used to quickly pan the track hard left or hard right or return the track to a centered state Use your mouse to switch the ball to three possible positions hard left zero pan and hard right The other pan control shows the current pan value and provides a more precise way of adjusting pan To change the pan value for the track select the pan field hold down your left mouse button and drag Dragging to the right pans the track to the right channel while dragging to the left pans the track to the left channel Mute Solo Buttons The M Mute button turns off the output of the track You can mute as many tracks as you want by clicking on their M buttons Press the S Solo button to solo the track To solo multiple tracks hold down the Ctrl key as you click on their S buttons Track Faders The fader is used to adjust the track s relative volume in the mix Move the fader up or click on the arrow above the fader to increase the volume m
255. e track ranges being viewed will be shifted either up or down 244 CHAPTER 13 Navigating the Multitrack View e Left click and drag the magnifying glass which appears when your mouse passes over either edge of the Vertical Portion Bar s handle to adjust the number of viewable on screen tracks Either edge of the handle can be stretched so the longer the handle is the more tracks are on screen at once If you make the handle smaller overall youre zooming in and if you make the handle larger yowre zooming out The colored portion of the bar i e the handle always shows you what portion hence the name of the total file you can see e Right click anywhere on the Vertical Portion bar to call up a menu with three zooming options Zoom In Zoom Out and Zoom to Selected Tracks The menu also has options for moving the Vertical Portion Bar to the left or right of the Session Display as well as returning it to its default position to the left edge of the Track Controls window Track Name Field At the top of each Track Control module the track s name is displayed in a sunken field By default the track will be named something like Track 4 but it can be easily renamed by left clicking on the name of the track and then typing over it Record Enable Button Pressing the Record Enable button it s the button with the R on it will arm the track for recording When the Record button in the Transport Controls is pushed this t
256. eans you can reposition it at one of several places in the Adobe Audition interface Or you can even detach the Play List window and have it float above Adobe Audition s main window Cue List OOO Begin End l Length Label Cue List Dialog with Edit Cue Info Mode Active An unlimited number of cues may be defined and saved in the Cue List for later recall or for assembling in Adobe Audition s Play List To close the Cue List window when it s floating click on the X control in its title bar To get rid of the Cue List window when it s docked right click on its grab bar and select Close from the pop up menu Or you can simply uncheck the Cue Play List item on the Edit menu to close it in either docking or floating mode About Cues Cues are time offsets or locations defined within a waveform They may be thought of as virtual markers Adobe Audition has four types of Cues Each type can be a point or a range e A point refers to an exact cursor position within a waveform for instance 1 08 566 from the start of the wave e A range has both a start time and an end time for example all of the waveform from 1 08 566 to 3 07 379 If a Cue is a range you can drag its beginning and end points to different times Cue 2 a cue point Cue 1 a cue range Cue 3 non split cue range The upper part of the Wave Display showing the Cursor Handle and three Cue Handles ADOBE AUDITION 81 User Guide Here are the f
257. ect from the list Notice that the names of the non Real Time Effects are disabled or grayed out ADOBE AUDITION 271 User Guide 4 Hold down your left mouse button and drag the effect over to the track 5 When you release your mouse button the Track Effects dialog will appear allowing you to adjust the properties for the effect you ve just added as well as the amount of Wet Dry mixing of the track s effect The Track Controls Way 1 Press the FX button for the track you wish to apply a Real Time Effect This will cause the Effects Rack dialog to appear 2 Choose the desired effect from a list of installed Real Time Effects in the left column 3 Press the Add gt button to add the effect into the Current Effects Rack the left column for the track 4 Highlight the effect s name in the left column and press the Properties button to set the effect s parameters 5 Press Apply if you want to add another effect to the track 6 Press OK when you re finished About dialog boxes for Real Time Effects When you work with Real Time Effects in Multitrack View you ll notice that the look of their dialogs is a little different from the way they appear in Edit View They take on the visual characteristics of the main Adobe Audition interface as opposed to the more traditional Windows look Functionally the Real Time effects are the same as their Edit View versions Almost always they match up control for control with their no
258. ed since every input value goes to the exact matching output value Adjusting the shape of this line will adjust the input or output assignments thereby altering the dynamic range For example you can boost all input that has a level of around 20dB leaving everything else unchanged You can also draw an inverse line a line from upper left to lower right that will dramatically boost low amplitudes while dramati cally suppressing high amplitudes that is all quiet sounds will be loud and all loud sounds will be quiet Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Splines Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Splines the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Flat The Flat button resets the graph to its default state of an unchanged signal removing all control points Invert The Invert button changes the graph to on
259. ed in file types such as Windows wav and Apple AIFF Peak Files Peak Files are files with the extension pk that enable Adobe Audition to load save and redraw audio files more quickly than it could do without them You can safely delete Peak Files or turn their creation off altogether in the Display tab of Options gt Settings However keep in mind that without Peak Files larger audio files will take longer to reload Phase As a wave vibrates it cycles through from its maximum to minimum amplitude and then back to its maximum The phase is the position of the wave on this cycle When you hear two sounds simultaneously their amplitudes are summed together to form the total sound we hear Two sounds will cancel each other out when one s high points coincide with the other s low points These two waves are said to be out of phase Pink Noise Pink noise has a spectral frequency of 1 f and is found mostly in nature It s the most natural sounding of the noises By equalizing pink noise you can simulate rainfall waterfalls wind a rushing river and other natural sounds Pink noise falls exactly between brown and white noise which is why some people used to call it tan noise but pink was more appealing Pink noise has a fractal like nature when viewed When zoomed in the pattern looks identical to the way it appears when zoomed out except at a lower amplitude Play List The Play List is an arrangement of Cue List entries that you can pl
260. ed to visualize audio levels during recording and playback MIDI Trigger Enable By checking MIDI Trigger Enable any of Adobe Audition s shortcuts that have been assigned to MIDI events can be called from a MIDI keyboard a sequencer or any other device capable of issuing a MIDI command Disable this option if you don t wish to have shortcuts respond to MIDI events Note Before attempting to enable MIDI triggering you ll need to choose a device for MIDI In that s recognized by Windows such as a soundcard s built in MIDI interface or a MIDI interface card To do this go to Options gt Device Properties and click on the MIDI In tab Use the drop down list to select the device to be used for triggering Q Use the keyboard shortcut of F6 to quickly toggle the status of the MIDI Trigger Enable function MIDI Panic Button Sometimes MIDI devices get out of sync and get stuck notes where a note won t stop playing Select MIDI Panic Button to send an All Notes Off command to every MIDI device that Adobe Audition knows about 326 CHAPTER 19 Options Menu Multitrack View Synchronize Blocks with Edit View When Synchronize Blocks with Edit View is checked and you switch to Adobe Audition s Edit View from Multitrack View the current selection and view information will be transferred to the Edit View For example if yowre only looking at seconds 4 through 27 on a wave block when you double click on it in Multitrack View yo
261. edges of the band Band Stop Also known as a notch filter Band Stop is the opposite of Band Pass and will reject any frequencies within the specified range You must specify two cutoff points to define the edges of the band 160 CHAPTER 8 Effects Menu Edit View Cutoff This parameter defines the frequency serving as a border between passed and rejected frequencies It is at this point that the filter will switch from passing to attenuating or vice versa In filters requiring a range Band Pass and Band Stop this serves as the lower frequency while High Cutoff defines the high frequency border High Cutoff In filters requiring a range Band Pass and Band Stop this serves as the higher frequency while Cutoff defines the lower frequency border Order The higher the order the more precise the filter with steeper slopes at the cutoff points etc However very high orders can also have high levels of phase distortion Transition Bandwidth Some filter types allow the specification of the width of the transition band Lower values have steeper slopes If you choose a transition bandwidth the Order will be filled in automatically and vice versa In filters requiring a range Band Pass and Band Stop this serves as the lower frequency transition while High Width defines the higher frequency transition High Width In filters requiring a range Band Pass and Band Stop this serves as the higher frequency transition while Transition
262. editing implies that the file on disk is not actually altered instead each edit is stored as an instruction to be applied to the file For example in destructive editing a change in audio volume would actually alter the amplitude of a waveform whereas in non destructive editing the volume change would consist of commands that essentially instruct the program to get louder at this point Adobe Audition employs both destructive and non destructive editing methods However in Adobe Audition even destructive edits arent applied directly to the waveform in use until you save the file In essence Adobe Audition uses delayed destructive editing When you open a waveform in Adobe Audition it places a copy of the file in a temporary folder and it uses that copy for editing The original file remains unaltered until you choose to save any changes you ve made by choosing Save from the File menu for example When you save your changes Adobe Audition overwrites the original file with what you ve done to the copy Therefore destructive edits in Adobe Audition don t directly affect your original waveform when you perform them e Edits performed in Adobe Audition s Edit View like cutting pasting and applying effects such as Reverb or Limiting are destructive in nature so when you save your file again those edits are applied to the waveform itself e Edits made in the Multitrack View such as a cut split or volume cha
263. ee renan Transport SHOMCUtS socere ernea lind EEE EEE Help Menu Shortcuts cece eee e eee ee nitent e a Keyboard Shortcuts Dialog 2 eee eee cee eee eee ee eee xiii xiv CONTENTS Introduction elcome to Adobe Audition the complete multitrack digital audio recorder editor and mixer for Windows 98 ME 2000 and XP The combination of Adobe Audition and any Windows sound card puts the power of an entire digital recording studio at your fingertips So start making some great sounds and thanks for using Adobe Audition Getting Help Adobe provides a variety of options you can use to learn Adobe Audition including printed guides online Help and tool tips You can also access a host of continually updated Web resources for learning Adobe Audition from tips and tutorials to tech support information If you Try this Want information about install Follow the on screen installation instructions For more detailed information see ing Adobe Audition the HowTolnstall file on the CD Are new to digital audio editors See the Looking at the Work Area chapter to get familiar with the work area and tools e Use the Adobe Audition tool tips feature to help identify tools buttons and palette controls as you work in Adobe Audition Are looking for a detailed infor Search for the feature in Help or look it up in the index mation about a feature Want a complete list of keyboard See the Keyboard
264. eedback as you manipulate an Q envelope s control point Show Tempo Envelopes Checkmark this command to enable the display of Tempo Envelopes on MIDI files Tempo Envelopes which are view only show the MIDI file s tempo map on the MIDI block Homne mpos Denni A MIDI block with Show Tempo Envelopes turned on Enable Envelope Editing With this command checked Pan Volume Wet Dry and Effects Envelopes are placed in edit mode where you may click directly on the envelope line to add control points Once added you can simply drag control points up and down to draw the shape of the envelope or drag a control point off the block to remove it Enable Block Edge Dragging When Block Edge Dragging is enabled youre able to show or hide more or less of a selected wave block by dragging the block s left or right edge This non destructive action has the effect of chopping off and thereby muting the first or last part of the block Note that your mouse cursor changes when it s over a block s edge Block Edge Dragging can be used for looping a file If you turn on looping for a block right click and select Loop Properties then check the Enable Looping box in the Wave Block Looping dialog and drag the edge the file will loop as you drag Even if you then turn Block Edge Dragging off you can still drag loops with the gripper handle that appears in the bottom right corner of the block 284 CHAPTER 15 View Menu Mult
265. ejection threshold settings These levels are ordinarily set to the maximum amplitude average amplitude and minimum amplitude of the audio For example if your audio has a maximum RMS amplitude of 10dB then youd normally set the Max Threshold to 10dB If the minimum RMS amplitude was 55dB then Min Threshold would be set to 55 Press the Find Threshold Levels Only button to fill in these levels automatically with the maximum average and minimum levels Generally less correction is required for louder audio as the audio itself will mask many of the clicks so that their repair is not necessary Clicks are very noticeable in very quiet audio so quiet audio will tend to require lower detection and rejection threshold levels Once the threshold levels are in place assign appropriate Detect and Reject values to be used at each of the levels Detect This threshold setting with possible values of 6 to 60 determines how sensitive the filter is in finding clicks and pops Lower detection thresholds result in more clicks being found Start with a threshold to 35 for high amplitude audio above 15dB 25 for average amplitudes and 10 for low amplitude audio below 50dB These settings will find most clicks and often all of the louder clicks If there s a constant crackle in the background of your source audio try lowering the Min Threshold level more or increasing the dB level to which the threshold is assigned This value can be as low as 6
266. elect the audio format for the avi file Note While Adobe Audition can open other types of movie files to get at their soundtracks the ability to save back the audio track only works with avi files Save All Run the Save All command to save all open modified waveforms to disk as well as your open modified session Default Session If yowd like to make the current session the template for future sessions select Set Current Session as Default from the Default Session submenu If the current session contains blocks which may not exit in the future Adobe Audition will ask you if you still want to use the session for the default layout The template session will be loaded every time a new session is created You might want to do this because of specific device assignments or session master volume settings Select Clear Default Session from the Default Session submenu to make Adobe Audition forget the previously saved session template settings Free Up Space in Temp Files Use this command to bring up the Free Up Space in Temp Files window for managing Adobe Audition s use of the space on your hard drive s including the instances of Undo for each waveform The window also automatically appears when available hard drive space nears zero kilobytes If your system has lots of available free hard drive space Adobe Audition s undo levels are cleared regularly so you may not see this window unless you manually call it from the Fi
267. em s MIDI output devices is shown here ADOBE AUDITION User Guide e Same for All Tracks Check this box to use the selected Wave device bus or MIDI device as the default for tracks in your session e Properties The button brings up the property dialog for the selected Wave device bus or MIDI device e Bus Properties Adobe Audition gives you the ability to organize multiple tracks into busses which is especially useful for adding one or more real time effects to and or adjusting the gain for a common group of tracks For instance you might have four tracks of background vocals that you want to apply the same reverb effect to Instead of adding that effect to each track which might have a significant drain on your computer s processing speed you can add the four tracks to their own bus and then apply the reverb to the bus Up to 26 buses may be created Use the Bus Properties dialog which looks very similar to Adobe Audition s Effects Rack window to specify and change a bus s settings xi Friendly Name Untitled Bus E Presets v Output Device 1 SB Live Wave Out BC00 hs New Delete Installed Real Time Effects Current Effects Rack E Real Time Effects Add gt Full Reverb Amplitude Dynamics Processing Channel Mixer lt Remove Hard Limiting Pan Expand Stereo Field Rotate Delay Effects DirectX Filters Dynamic EQ Apply Graphic Equalizer St ee Bus Properties Dialog
268. em directly without making a backup in the temp folder If a waveform needs to be closed for deleting or for opening in another program running the Flush Virtual File command copies the waveform s contents to the temp folder and closes the file Files are automatically flushed if the entire waveform is modified by Adobe Audition since all changes are written to the temp folder In other words this command lets an audio file that s currently being used by Adobe Audition to be simultaneously used by another program or resource application Free Up Space in Temp Files Use this command to bring up the Free Up Space in Temp Files window for managing Adobe Audition s use of the space on your hard drive s including the instances of Undo for each waveform The window also automatically appears when available hard drive space nears zero kilobytes If your system has lots of available free hard drive space Adobe Audition s undo levels are cleared regularly so you may not see this window unless you manually call it from the File menu 57 58 CHAPTER 5 File Menu Edit View Free Up Space in Temp Files E x m Clear some Undo Items or close some Waveform Files Waveform Undo History Undo Full Reverb 712K Undo Graphic Equalizer 712K Undo Amplify Undo items get 419K Undo Flanger cleared from selected 751K Undo Normalize item to end of list Gypsy Dance way c sounds mus a Hardrock way c sounds music F Ha
269. empo and other properties in the Edit Tempo dialog which is described below Custom XX frames sec This option will default to the time code setting that was last selected in View gt Display Time gt Define Custom Frames For example if a custom time code setting of 15 frames per second was chosen in a previous session this option would show as Custom 15 frames sec ADOBE AUDITION 87 User Guide Edit Tempo This command brings up the Edit Tempo window Use this function to calculate the tempo or BPM Beats Per Minute value based on the currently highlighted selection Adobe Audition uses the BPM value in displaying ruler information for the Bars and Beats time format Also any settings that follow the base time format will work in Bars and Beats mode as well like Viewing Range Edit Tempo Light Jazz way a xj m Extract from Selection Bars Highlighted 7 66667 Extract Offset Current Beat At 1 1 00 Reset 1 1 to Cursor Song Start jo ms m Tempo Beats per Minute 120 Beats per Bar 6 Cancel Ticks per Beat 16 Help Edit Tempo Dialog Here are the major components of the Edit Tempo window e Extract from Selection The number entered in the Bars Highlighted field specifies the number of bars highlighted in a selection according to the Bars and Beats time format If this number is incorrect which it probably will be if you haven t yet defined the tempo you can ent
270. en the car is coming towards you the noise it s making sounds like it s a higher frequency because each wave crest as it comes towards you is actually compressed by the car itself moving forward The first crest leaves the car and by the time the next one leaves the car itself has moved forward reducing the wavelength of the sound and raising its frequency The opposite happens as it passes by you and the waves are stretched out resulting in a lower pitched sound Path Type Select one of the following e Select the Straight Line option to have effect s path visualized as a straight line on the graph in the right section of the Doppler Shifter window e Select the Circular option to visualize the effect s path as a circle on the graph in the right section of the Doppler Shifter window Depending on the path type you chose you ll get a different set of options Note Unlike many of the graphs in Adobe Audition s effects the Doppler Shifter graph is non interactive you can t directly manipulate the items on the graph using your mouse Instead the graph simply displays what the Doppler effect will look like as you make adjustments to the effect s parameters Straight Line Options Set the following e Starting Distance Away This value measured in meters is the virtual starting point of the effect ADOBE AUDITION 183 User Guide e Velocity The value entered here is the virtual speed at which the effect moves
271. endently sometimes causing the surrounding background noise to get louder on one channel at a time This can sound strange For example a loud drum beat in the left channel will make the background noise sound louder in the right than in the left If Joint Channels is checked both channels are used to find a single input dB value and both channels are amplified together by the same amount thus preserving the stereo center channel image For instance a loud drum beat on the left channel will also cause the right channel to be reduced in level by an equal amount ADOBE AUDITION User Guide Level Detector The Level Detector determines the current waveform input amplitude which is used as the input side of the dynamics processor Here are its components e Input Gain is added to the signal before it goes into the Level Detector the section that detects the current level This essentially pushes the graph up or down by the gain given e Attack Time is applied when retrieving the current amplitude information Attack Time determines the time in milli seconds that it takes for the processed output signal to reach its specified output volume If there is suddenly a quiet portion that drops 30dB it will take this much time before the output actually drops to its corresponding volume level e Release Time is applied when retrieving the current amplitude information Release Time is the time it takes the end of a previous output level to
272. enerate Tones settings before you apply them to the active waveform 195 Chapter 10 Analyze Menu Edit View he Analyze menu contains functions that give you information about the file or selection being displayed when in the Edit View mode Show Frequency Analysis This command displays Adobe Audition s Frequency Analysis window It contains a graph of the frequencies at the cursor position or at the center of a selection The x axis left to right represents frequency measured in Hz while the y axis bottom to top corresponds to the amplitude of the corresponding frequency measured in dB on the x axis Td Linear View Hold MAPA dB joss 8000 2000 He 3168 Hz 02 dB R 40 57 dB L 665 24 Hz E5 15 R 1172 7 Hz Area Right on top Ba FFT Size 1024 A BlackmannHaris BA Reference 0 dBFS Copy to chpoosra Bom gyre Frequency Analysis Window The Frequency Analysis window can float above Adobe Audition s main interface or dock at any one of several places within it Linear View Check the Linear View box to display the graph s plot with a linear horizontal frequency scale uncheck it to display the plot on a logarithmic scale Hold Press one of the four Hold buttons which are numbered 1 2 3 and 4 as a waveform is playing to take a snapshot of the waveform s frequency at that moment in time The frequency outline which is rendered in the same color as the button pushed is frozen on the graph and ov
273. ensity This controls the intensity of the binaural encoding Higher intensities work well with lower binaural frequencies e Centering You can trick the brain into thinking the binaural signal is coming from the left or right Mixing a file that has been binaurally processed to the left with one that has been binaurally processed to the right in Q the same frequency range within 2 Hz has interesting effects Channel Mixer The Channel Mixer enables you to alter the left right balance of a stereo waveform This lets you create new stereo mixes using the existing right and left channels as input sources By recombining and inverting the channels you can create some interesting stereo imaging effects The default values are automatically set so that the waveform s original gain values will be unchanged In other words the Channel Mixer can t make the waveform any louder than it already is New Left Channel Adjust the slide bars to determine the percentage of the current left and right channels that will be mixed into the new left channel For example choose an L value of 50 and an R value of 50 to sum equally the current L and R channels to the new left channel after mixing Enter an L value of 0 and a R value of 100 to make the new left channel contain the material of the original right channel New Right Channel Adjust the slide bars to determine the percentage of the current left and right channels that will be mixed into the new right c
274. er 256 CHAPTER 13 Navigating the Multitrack View Track Properties Checkmarking this item displays Adobe Audition s Track Properties dialog where you can adjust parameters for a selected track s volume and panning output and record devices and more The Track Properties window is dockable which means you can reposition it at one of several places in the Adobe Audition interface Or you may detach it and have it float above Adobe Audition s main window Track Properties Track 1 Track name are 100 Title Output 1 5 Record Solo track The Track Properties Dialog in default Tabs view Here are the major components of the Track Properties window e Track Tabs The first time you click on any track in Adobe Audition s session window a tab is added for that track to the Track Properties window Click on a tab which contains the name of the track to adjust its associated track s settings The X control to the immediate right of the Max View control closes the active tab Note You won t be able to see the Track Tabs if the Max View window display option is selected e Max View When you press this control which looks like a small arrow pointing upward you switch to Max View All of the tabs disappear and the controls for the selected track expand to fill the Track Properties window To return to the Track Tabs view press the Restore control the small arrow pointing downward e Volume Slider
275. er specifies the size of the FFT to use represented as a power of two which can affect processing speed and quality For cleaner sounding filters use higher values Recommend values are between 1024 and 8192 Use lower values 512 or so when tweaking your filter for faster Preview response When you have the settings the way Q you want them switch to a higher FFT size for better quality when processing Windowing Function The windowing function determines the amount of transition width and ripple cancellation that occurs during filtering with each one resulting in a different frequency response curve These functions are listed in order from smallest width and greatest ripples to widest width and least ripples The filters with the least ripples are also those that more precisely follow the drawn graph and have the steepest slopes even though they are wider and pass more frequencies in a band pass operation The Hamming and Blackman filters give excellent overall results Try different windowing functions if you these don t give you the effect you want Lock to Constant Filter Check this option to apply a constant filter to the waveform Uncheck it to choose both an initial and a final filter setting The rate at which the filter migrates from the initial to final settings depends on the Transition Curve settings 147 148 CHAPTER 8 Effects Menu Edit View Morph If Morph is checked the transition from the initial filter settings
276. er the correct value here to be used in extracting tempo information e Extract Use this button to extract tempo information from the highlighted selection Make sure you first correctly fill the Beats per Bar field below 4 for 4 4 music 3 for 3 4 etc and enter the number of known highlighted bars A push of the Extract button will then calculate the tempo and fill in the Beats per Minute and the Offset values e Offset The information in the Current Beat At field is the bar beat information for the left edge of the selection or the current cursor point if no selection is made When extracting from a selection Adobe Audition assumes that this is a downbeat You can change the actual bar and beat number for the left edge of the selection or the current cursor point Modifying the Current Beat At figure updates the Song Start value based on the current tempo settings Press the Reset 1 1 to Cursor button to change the value in the Current Beat At field to 1 1 00 Song Start is the number of milliseconds into the file before the measure 1 1 00 begins You cannot edit this value e Tempo e Beats per Minute as youd expect displays the number of beats that occur over a 1 minute interval Calculate this value by using the Extract button e Use the Beats per Bar field to assign the number of beats that form one measure This number is usually the top number in the musical piece s time signature For instance enter 4 for 4 4 time 6 for 6 8 t
277. er volume and pan levels and add effects in a non destructive fashion Non destructive in this case means that you can alter image parameters without affecting the original audio data in any way 4 titled Uttited ty Two waveform blocks on the same track Q You can right click on a block to call up a menu that contains shortcut commands relating to multitrack editing About Session Files Adobe Audition uses session ses files to save all of the information that relates to a current multitrack project a k a session such as audio file placement and info about mixing and panning levels mute and solo status and application of real time effects Navigating the Session Display The following list describes the mouse movements that are crucial to navigating around the Multitrack View s Session Display window Defining a Range Left click on one side of the range portion that you want to select and drag the mouse to the left or right You also select any block that is within the dotted line rectangle you draw with the mouse Editing a Wave Block Double click on a wave block to send it to Adobe Audition s Edit View for modification Moving a Block Right click a block and drag it horizontally to adjust its position within a track To move the block between tracks right click it and drag it vertically Displaying Context Menus Two types of context menus can be shown in the Session Display e Right click on a block to view th
278. erface card or another similar hardware device When using Adobe Audition with a MIDI sequencer you can trigger audio from your MIDI sequence by embedding a Q controller event at a specific location and assigning playback in Adobe Audition to that event This works well for shorter samples but for longer audio segments you should use SMPTE to ensure synchronization 352 Keyboard Shortcuts Keyboard Shortcuts List All of Adobe Audition s commands and functions that can be assigned a keyboard shortcut are displayed in this list along with any currently assigned shortcuts and MIDI triggers Click on a command to highlight it and then give it a shortcut or edit its existing one using the Shortcut Key and or MIDI Trigger area of the Keyboard Shortcuts dialog Category Nearly every aspect of Adobe Audition can have a keyboard shortcut assigned to it we re talking a lot of shortcuts That s why you ll find the Category drop down menu handy It allows you to filter the Keyboard Shortcut list by category which helps you quickly find the command or function to which you want to assign a shortcut Multitrack If the Multitrack button is depressed you ll see all of Adobe Audition s keyboard shortcuts for the Multitrack View Release the button to hide all Multitrack View shortcuts Edit View If the Edit View button is depressed all of Adobe Audition s keyboard shortcuts for the Edit View are displayed Release the button to hide all Edit
279. erlaid on the other frequency line s Up to four frozen frequency outlines may be shown at once To clear a frozen frequency outline press its corresponding Hold button again Status Areas The left status area directly underneath the graph displays the waveform s overall highest frequency as well as the maximum amplitude for both the left and right channels The right status area directly underneath the graph displays the frequency for the left and right channels measured at the insertion point It also shows in parentheses each channel s musical equivalent note number and positive negative cents Options Use this drop down list to select a graphing display option 196 CHAPTER 10 Analyze Menu Edit View e Lines The waveform s left and right channels appear as simple lines with each channel displayed in a different color e Area Left on top The Area modes are similar to the Lines option but the area beneath the lines is rendered as a solid color The lines that represent the frequencies are smoothed out and the left channel appears in front of the right channel e Area Right on top Choose this option to have the right channel appear in front of the left channel in Area mode e Bars Left on top While the Area modes smooth out the lines that represent the frequencies the Bars modes show the actual limitations on analysis resolution by splitting the display into rectangular segments The higher the FFT size the
280. erpret As is four options that determine how the Sample Value is measured Choose from 8 bit range 16 bit range 24 bit range or Normalize 1 0 45 Chapter 5 File Menu Edit View se the commands on the File Menu to open save and close wave files import audio from video files perform batch conversions access recently used waveforms and more New Select File gt New to create a new empty waveform The New Waveform window appears so that you can choose the new file s properties Options are provided for Sample Rate Channels and Resolution kk r Sample Rate Channels r Resolution C Mono C B bit Stereo 16 bit C 32 bit float New Waveform Dialog You ll get better quality sound when you use a higher sample rate and resolution but you ll use more hard disk space Audio CDs use a sample rate of 41000 and a resolution of 16 bits per sample Sample Rate This value determines how many frequencies can be encoded in the audio signal Higher sampling rates mean a wider bandwidth Popular sample rates are already listed just click on one to select it Or enter a custom number in the Sample Rate box to specify a different rate from those provided However keep in mind that most sound cards only support certain sample rates Channels Select Mono if you want to record a waveform with just one channel of audio information such as a voice only recording The Stereo option allows you to create a two channel
281. erve full audio fidelity If you don t want to see this dialog box again check the Don t display this message in the future box Save extra non audio information Uncheck this box if you don t want to save header fields such as copyright and author information Note If you plan to burn the waveform to compact disc using another program unchecking the box is highly recommended Some CD recording interprets non audio information incorrectly and will place an unpleasant burst of noise as the beginning of each CD track Options Most audio file formats support various options See the Waveform File Formats chapter for more infor mation Press the Options button to bring up a window to select the desired settings If the format doesn t have any options the Options button is disabled grayed out ADOBE AUDITION User Guide Save Mixdown To Video As If you have an avi video file inserted into the session you can mix down the session and make that your audio track for the video This command brings up the Save 16 bit Mixdown To Video or Save 32 bit Mixdown To Video window depending on if yowre working in the 16 bit or 32 bit realm which allows you to save the current mixdown and video to a new name location or format The Save Mixdown To Video window is nearly identical to the Save Mixdown As window previously documented However the Options button brings up the Installed Audio CODEC window which allows you to s
282. es its volume By default Adobe Audition automatically estimates a good starting value for you Lower this value to increase the amplitude of the impulse Bandpassed Echoes Use these options to add echo at any frequency to the impulse ADOBE AUDITION User Guide e Minimum When adding bandpassed echoes this is the lower cutoff frequency of the echo For example to echo just the range from 500Hz to 1000Hz enter 500Hz for the minimum value e Maximum When adding bandpassed echoes this is the upper cutoff frequency of the echo For example to echo just the range from 500Hz to 1000Hz enter 1000Hz for the maximum value e FIR Size This parameter sets the size of the FIR filter to use to generate the filtered echo Note Adobe Audition recommends a minimum delay below the FIR entry box when you add this echo If you use a smaller delay than that 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 Add to Impulse These settings let you add features to impulses e Add Sel This setting adds the currently highlighted selection to the impulse at the delay and left right volumes specified You can add as many selections of actual audio as you like Note You can make any audio data part of an impulse by first highlighting the audio and then using the Add Sel gt gt button Ordinarily you should first scale down any such sele
283. es the balance of the FL Center and FR channels With this slider at 0 no signal is sent to the Center channel With this slider at 100 the Center channel receives an equal of signal as the FL and FR The position of the Panner Point then determines the positional panning according to this FL Center FR balance ratio Track Level Slider Track Level u 50 1 Track Level Slider In any selected pan mode this level slider controls the amplitude level of the currently selected track within the Multi channel mix Pan Envelope Automation M Pan Envelopes Splines Clear All Pan Envelope Automation When the Pan Envelopes checkbox is selected two envelope lines are shown in the waveform display window The yellow envelope line controls the Left Right balance and the green envelope controls the Front Surround balance These envelopes are interactive with the positioning of the Panner Point in the Surround panner interface It is possible to create dynamic panning over time by using these envelopes To create a dynamic pan on a track follow these steps 1 Select and check the box for one of your tracks in the Track List 2 In the Panning Assignment menu select either the Surround Panner stereo source or Surround Panner summed to mono options 3 At the top right of the Waveform display section check the Pan Envelopes checkbox You will see two envelope lines appear in the Waveform display The yellow line starts on top
284. esets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Flanger setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played 130 CHAPTER 8 Effects Menu Edit View Full Reverb Full Reverb like Adobe Audition s standard Reverb effect is used to simulate acoustic space It s also convolution impulse based like the standard Reverb which means there are no ringing metallic or other artificial sounding artifacts However specific resonating can be achieved if desired see Coloration Full Reverb has some unique features not found in other reverbs like Perception to simulate room irregularities and source location to place the singer off center and have the early reflections realistically model their position within rooms that have acoustically desirable dimensions that you can customize Practically any wall surface material or other sound affecting factors can be simulated by changing the reverb s frequency absorption using a 3 band parametric EQ style interface in the Coloration tab Note Whenever any of the reverb characteristics are modified a new impulse is computed which can be several megabytes in size to simulate th
285. ess likely that the edit will create a pop or click after the edit since there won t be a sudden jump in amplitude after the edit Index Numerics 64 bit doubles RAW 29 8 bit signed 29 A A mu Law Wave 29 Account Executive field 91 Account for DC 202 Accuracy 151 ACM Waveform 30 Active Track 304 Actual Bit Depth 201 Add cue button 82 Adjust Boundaries 267 311 Adjust for DC 24 Adjust Sample Rate 73 Adjust to zero DC when recording 231 Adjust Wave Pan 302 Adjust Wave Volume 302 ADPCM 32 33 Advanced Session Properties 284 296 Advertiser field 91 Affect Level 323 After Effects moving files to and from 9 Agency field 91 AIF 30 AIFF 30 A Law 34 Align Left 311 Align Right 311 All Waves 305 Allow for partially processed data 224 Allow Multiple Takes 301 Allpass Feedback 136 Amiga IFF 8SVX 30 Amplification 98 Amplify 97 Amplitude 97 190 Amplitude sliders 133 291 Analysis Wave 318 Analyze Loudness tab 70 Append to Session 274 Apple AIFF 30 Arm Track for Record command 251 Artist field 92 ASCII Text Data 31 ASPI SPTI 50 AU 34 Audio files inserting 242 Audio from Video File 316 Audio is defined as 65 Audition Effect 204 Audition Loop 31 Auto Play 47 Auto Play button 18 Auto Zero Cross Edits 227 Auto convert all data to 32 bit upon opening 222 Auto convert settings for Paste 223 Auto Cue 68 Auto Play button 82 Auto play on command line load 215 367 Auto scrol
286. ession Ctrl F4 Close a waveform or session Ctrl S Save a waveform or session Ctrl Q Exit Adobe Audition Edit Menu Shortcuts Ctrl C Copy the waveform or selection to the clipboard Ctrl Insert Copy the waveform or selection to the clipboard Ctrl X Cut the waveform or selection to the clipboard Shift Delete Cut the waveform or selection to the clipboard Ctrl V Paste the clipboard s contents into the Wave Display or Session Dis play Shift Insert Paste the clipboard s contents into the Wave Display or Session Dis play Ctrl Shift V Display the Mix Paste dialog Ctrl Z Undo the last action Alt Backspace Undo the last action Ctrl Y Redo the last action Ctrl T Trim the waveform so that only the highlighted part remains Delete Delete the selection F11 Display the Convert Sample Type dialog Ctrl M Insert the waveform into the Multitrack View s Session Window 1 Mark Intro Time 2 Mark Sec Tone Ctrl Shift N Paste the contents of the active clipboard to a new waveform Ctrl 1 Set the active clipboard to internal clipboard 1 Ctrl 2 Set the active clipboard to internal clipboard 2 Ctrl 3 Set the active clipboard to internal clipboard 3 Ctrl 4 Set the active clipboard to internal clipboard 4 Ctrl 5 Set the active clipboard to internal clipboard 5 Ctrl 6 Set the active clip
287. ession when the view is zoomed in Ctrl Page Up Scroll the view one page to the left Ctrl Page Down Ctrl Left Arrow Scroll the view one page to the right Scroll the zoomed in view to the left Ctrl Right Arrow Scroll the zoomed in view to the right Home Move the play cursor to the beginning of the waveform or session End Move the play cursor to the ending of the waveform or session Page Up Move the play cursor one page to the left Page Down Move the play cursor one page to the right Left Arrow Move the play cursor to the left Right Arrow Move the play cursor to the right Escape Esc Move the play cursor to the start of the waveform or session Shift Home Extend the selection to the beginning of the waveform or session Shift End Extend the selection to the end of the waveform or session Shift Page Up Extend the selection one page to the left Shift Page Down Extend the selection one page to the right Shift Left Arrow Extend the selection to the left Shift Right Arrow Extend the selection to the right Ctrl Shift A Select the current view Ctri A Select the entire waveform in Edit View select all blocks in Multi track View Ctrl Up Arrow Select the previous block in the currently selected track Ctrl Down Arrow Select the next block in the currently selected track Shift 1 Adjust Zero Cr
288. est but higher overlay settings may require you to vary the interval size used Note Smaller values can produce a hum while large values can be too blocky sounding Window Width As an alternative to setting the Interval Size you can simply choose a percentage to use for Window Width in specifying the interval used per FFT taken Q A value of 90 will generally produce good results Vocal Crossover This frequency setting is used to filter out or separate the source waveform s underlying base frequency voice from the vocal formants With higher values more formants and less of the actual vocal tone from the source is used As this value gets lower more of the speaker s voice characteristics get vocoded in This shouldn t be confused with the speaker s formant characteristics Ideally you want none of the source voice itself carried over but all of the formant infor mation so the synthesizer talks Resynthesis Window Choose the size of the window used for resynthesis of the vocoded signal Narrower windows will make hard consonants sound clearer and with higher overlay settings narrow resynthesis windows will give better time resolution in the event that the vocoded signal sounds too smoothed out The resynthesis window number should never be larger than or equal to the number of overlays Affect Level This sets the amount of processed vocoded signal that ends up in the resulting waveform Set this value to 100 for full
289. ew Controls window is displayed Sel is an abbreviation for Selection This window shows the beginning and ending points as well as the total length of both the selection and the section of the waveform that s currently viewed The selection and display range are each shown using the current time display format Note More information on the Sel View Controls window which is dockable is in the Looking at the Work Area chapter Show Level Meters Click on this option to display Adobe Audition s Level Meters which appear by default near the bottom of both Adobe Audition s Edit View and Multitrack View windows These meters display both record and playback levels The Level Meters window is dockable 86 CHAPTER 7 View Menu Edit View Note More information on the Level Meters can be found in the Looking at the Work Area chapter Show a Placekeeper Select Show a Placekeeper to create a blank dockable window called a placekeeper Use it to more accurately define where you want a dockable window to be especially for windows that are only useful when viewed in a certain aspect ratio Note More information on Placekeepers can be found in the Looking at the Work Area chapter Display Time Format The Display Time Format menu lets you choose between several time display readouts including Decimal Compact Disc different versions of SMPTE Samples Bars and Beats and Custom time code frame rates Ado
290. ey always physically change the waveform they re applied to Don t worry if Undo is active you can easily reverse the destruction Multitrack Effects may only be used in the Multitrack View Real Time Effects include e Amplitude Channel Mixer Dynamics Processing Hard Limiting Pan Expand and Stereo Field Rotate e Delay Effects Chorus Delay Dynamic Delay Echo Echo Chamber Flanger Full Reverb Multitap Delay Quick Verb Reverb and Sweeper Phaser e Filters Dynamic EQ Graphic Equalizer Graphic Phase Shifter Notch Filter and Parametric Equalizer e Special Convolution and Distortion e Time Pitch Stretch Off Line Effects include e Amplitude Amplify Envelope and Normalize e Generate DTMF Signals Insert Audio From CD Noise and Tones e Filters FFT Filter Quick Filter and Scientific Filters e Noise Reduction Clip Pop Eliminator Clip Restoration Hiss Reduction and Noise Reduction e Special Binaural Auto Panner e Analyze Statistics e Time Pitch Doppler Shifter and Pitch Bender Multitrack effects include e Envelope Follower e Frequency Band Splitter e Vocoder Assigning a Real Time Effect to a track There are several ways to add a Real Time Effect to a track but here are the two most common The Organizer Window Way 1 If you don t have the Organizer Window open press the F9 key to display it 2 Click on the Effects tab of the Organizer Window 3 Choose the desired Real Time Eff
291. f the envelope is at the bottom the track is 100 dry which means the original track is unaffected by the effects A wave block with its Wet Dry Mix Envelope set to slowly transition from Dry to Wet over the course of the block Note To change Wet Dry Mix envelopes there must be a checkmark next to Enable Envelope Editing further down the View menu If View gt Status Bar gt Data Under Cursor is checkmarked you ll be able to see the mix percentage as you drag an Q envelope s control point around Note Wet Dry Mix Envelopes overlap with the Volume Envelopes so you might have to turn off the Volume Envelopes uncheck View gt Show Volume Envelopes to see them Show FX Parameter Envelopes With this command checked Effects Envelopes appear when you apply certain Adobe Audition effects to a track such as Pan Expand Dynamic EQ and Dynamic Delay When you add one of these effects there will be an Automated checkbox in its settings dialog If it s checked an envelope for that setting will appear For instance Dynamic Delay lets you vary Delay and Feedback over time with these envelopes ADOBE AUDITION 283 User Guide A wave block with FX Parameter Envelopes in this case Dynamic Delay displayed Note To change FX Parameter envelopes there must be a checkmark next to Enable Envelope Editing further down the View menu If View gt Status Bar gt Data Under Cursor is checkmarked you ll be able to get visual f
292. fecting the foreground audio Delete Silence i x m Audio is defined as Silence is defined as Signal is below EE dB Signal is above 34 dB For more than 140 ms For more than 25 ms y m Scan Results Find Levels Close J Mark Deletions in Cue List Cancel Limit Continuous ho Scan for Silence Now Silence to 100 ms Help Delete Silence Dialog Here are the major components of the Delete Silence window Silence is defined as Enter the amplitude value in decibels you wish Adobe Audition to consider as the maximum level for Silence in the Signal is below box The duration in milliseconds of this maximum amplitude value should be entered in the For more than box Note For very quiet high quality audio the dB value will be lower like 60 dB For noisier audio the value may be much higher such as 30 dB Use higher values in the second box to keep groups of words together for example Audio is defined as Enter the amplitude value in decibels you wish Adobe Audition to consider as the minimum level for Audio in the Signal is above box The duration in milliseconds of this minimum amplitude value should be entered in the For more than box Use higher values for the second box to ignore short periods of undesired audio like clicks static or other noise However if the value is too high above 200 ms short words may be skipped 66 CHAPTER 6 Edit Menu Edit
293. ff To sharpen or flatten a note drag the sharp or flat symbol on top of the note you wish to transpose If you want to clear a sharp flat or chord from a note use the faded looking quarter note object and drop it on the note you wish to bring back to normal You can move notes up or down after they have been placed or pick them up to insert in a new position To remove a note pick it up and drop it off away from the bar Use the horizontal scroll bar to work on individual portions of the song at a time You can scroll to write a piece as long as 256 notes Chord Type Use the chord selection drop own list to determine the minor or major chord type and voicing you would like to use when entering a chord You can choose to make a chord out of 2 3 or 4 voices and then choose the chord type from the list Then pick up the chord object the 3 notes on top of each other from the Notes area and drop it on a note above The note you drop it on will be the starting note of the chord and the other notes will automatically appear above it in the right ratios Staff Drag notes from the Notes area and place them here The note location A E flat will determine the playback pitch for your sample ADOBE AUDITION 181 User Guide Listen If you have MIDI playback capabilities you can listen to a preview of your sequence before actually applying it Play begins at the leftmost note visible on the staff which means play begins at the position you are
294. ffects are grouped together Another push of the Group Real Time Effects button returns the File Pane to its previous view Favorites Pane The Favorites Pane lists all of the favorites you ve created These are the same items that appear on Adobe Audition s Favorites menu The Favorites Pane of the Organizer Window Edit Favorites Press this button to call up the Favorites dialog where you can create new favorites or edit or delete existing Favorites Wave Display Session Display The Wave Display window in Edit View and the Session Display window in Multitrack View are the heart and soul of Adobe Audition These are the areas where you ll see sound visualized in an easy to manipulate form whether you re modifying one waveform in Edit View or mixing dozens of discrete audio elements in Multitrack View More details about the Wave Display and Session Display windows can be found in the Navigating the Edit View and Navigating the Multitrack View chapters respectively 20 CHAPTER 2 Looking at the Work Area fet EAEE TB Gr ee rer es ceo 5 j oo 0 20 00 The Multitrack View s Session Display Presets Many of Adobe Audition s effects and other functions have presets that are available for easily storing and recalling your favorite settings New presets can be added at any time ADOBE AUDITION 21 User Guide Presets Add Del The Presets portion of the Amplify Effect s Dialog Do
295. ffin dudi One cool use for this function is to give a stereo effect to monaural audio by adding ambiance Choosing a left micro phone placement that is one or two feet away from the right microphone will simulate a listener s ears and will give the effect of being there Try monitoring the result with headphones to experience the best effect Make sure you use Edit gt Convert Sample Type to make the mono signal stereo that you can choose separate virtual microphone locations A spatial stereo expansion effect may be created by placing the two microphone locations far apart further apart in the settings than if you were playing them through speakers in real life For example if your stereo speakers are 6 feet apart try placing the left and right virtual microphone settings 20 or 30 feet apart Room Size feet The length width and height of the virtual room as measured in feet are specified here There are approximately 0 3 meters per foot When entering source and microphone locations they must lie between zero and the room s width for the Dx From Left Wall parameter and between zero and the room s length for the Dx from Back Wall parameter Room sizes can be as large as you like but memory requirements will grow as room size increases This means that some systems may run out of memory if very large room sizes are used Intensity This determines the percentage of amplitude of the direct
296. fidence transparent sample rate conversion guarantees that if you need to change the sample rate of audio it will sound its best Ideal for taking CD material at 44 1kHz and upsampling it to 48kHz for video or 96kHz for DVD Automation envelopes Create smooth volume pan effects parameter and wet dry transitions for clips in a multitrack mix using sample accurate automation envelopes or rubber bands Envelope curves can be adjusted using splines to produce gradual non linear transitions Customizable dithering Convert high bit rate material to lower resolution formats without introducing audible artifacts User definable dither depth and a wide array of Noise Shaping curves assure that your audio will retain its character and definition High quality stretching Change tempo without shifting pitch or shift pitch without changing tempo thanks to high quality stretch support Work Efficiently Adobe Audition increases your productivity with extensive customization and performance options Customizable workspace Get up and running quickly using an interface that is dockable resizable and can be configured to meet your production needs For example create default sessions that can be called up as templates for projects that share similar configurations Real time effects Process effects in real time instead of waiting for each effect to render before moving on To reduce CPU usage lock a track to cache the rendered effect unlock it in
297. file at the beats to loop the file that way This only works on loops that have very sharp short duration sounds like drums If the waveform already has beat markers you may elect to use them Otherwise the Auto Find beats option will be selected If the default values of 10dB and 9 milliseconds aren t satisfactory you can change them in the fields provided EBU Extensions Tab xl Text Fields Loop Info EBU Extensions Sampler Misc File Info Description 60 commercial for Syntrillium Software a London studios I Originator Joe Cool Originator Reference JsudoC o Origination Date yyyy mm dd 2001 08 23 Origination Time hh mm ss fie2253 Wave Properties Dialog EBU Extensions tab Description Up to 256 characters may be entered in this field to describe the audio file Originator Enter the name of the audio file s producer up to 32 characters in this field 94 CHAPTER 7 View Menu Edit View Originator Reference You can enter up to 32 characters of reference information here about the producer Origination Date yyyy mm dd This field should contain the date that the subject matter was created The date should be in the year month day format using 0 as a place holder in single digit values For example if the date the original recording was made was June 8 2001 then it needs to be written as 2001 06 08 Origination Time hh mm ss The time the audio file was produced goes in this field
298. files this format can support mono or stereo 16 bit or 8 bit and a wide range of sample rates when saved as linear PCM The most common use for the AU file format is for compressing 16 bit data to 8 bit mu law data AU is used quite exten sively for distribution on the Internet and for inclusion in Java applications and applets Options Choose from the following e mu Law 8 bit compresses the file using the mu Law 8 bit format This is the default e A Law 8 bit uses the A Law 8 bit format to compress the file e G 721 ADPCM 4 bit uses the CCITT G 721 ADPCM at 32 kbits second to compress the file e Linear PCM saves the file as uncompressed linear PCM SampleVision smp The SampleVision format is used by Turtle Beach s SampleVision program It supports only mono 16 bit audio If your data is in a different format you ll be asked to convert it before saving This format also supports loop points which can be edited using Adobe Audition s Cue List The Label of the cue must be in the format Loop n m where n is the loop number from 1 to 8 and m is the mode 0 no looping 1 forward loop 2 forward back loop Adobe Audition s Play List is used to enter the number of times to loop the cue range Add the cue range to the Play List and then enter the number of times to loop ADOBE AUDITION 35 User Guide Windows PCM wav The Microsoft Windows WAV format supports both mono and stereo files at a variety of resolutions
299. float above Adobe Audition s main window Here are the major components of the Track EQ window e Track Tabs The first time you click on any track in Adobe Audition s session window a tab is added for that track to the Track EQ window Click on a tab which contains the name of the track to adjust its associated track s settings The X control to the immediate right of the Max View control closes the active tab Note You won t be able to see the Track Tabs if the Max View window display option is selected ADOBE AUDITION 255 User Guide e EQ Presets Press the P in the upper right hand row of icons to access the EQ Presets dialog which allows you to save favorite equalization settings as well as delete EQ presets you no longer want To add the current EQ settings as a preset click on the P and then click Add New to display the New Preset Name dialog Enter the name for the new preset and press OK Choose an EQ preset by clicking the P and clicking on the preset s name To delete a preset press the P icon and then click the Delete button Keep in mind that since clicking on any item chooses it to delete you must first press Delete which initiates the delete mode notice that the button lights up when delete mode is active Then you can click on whichever entry you wish to zap Note EQ Presets are also accessible from the EQ section of the Track Controls area by right clicking on the EQ A or EQ
300. form a spliced section of another Waveform Block etc Any edits made to a Waveform Block are nondestructive in nature You can right click on a Waveform Block for a menu containing editing commands or double click on it to jump into its source in the Edit View Wave Display The Wave Display is the part of Adobe Audition s Edit View in which you view and manipulate audio data By default this audio material is in the shape of a waveform but it can be displayed as spectral data by choosing the View gt Spectral View option Wet Used to describe an audio signal that has had signal processing such as reverb applied the opposite of Dry White Noise White noise has a spectral frequency of 1 In other words equal proportions of all frequencies are present Because the human ear is more susceptible to high frequencies white noise sounds very hissy Adobe Audition generates white noise by choosing random values for each sample Windows WAV The Microsoft Windows WAV format supports both mono and stereo files at a variety of resolutions and sample rates It follows the RIFF Resource Information File Format specification and allows for extra user information to be embedded and saved with the wave file WAV files contain PCM coded audio which is pure uncompressed Pulse Code Modulation formatted data Zero Crossing A place in time where the wave crosses the zero amplitude line By placing edit points at zero crossing points it s much l
301. form dialog can be found in the File Menu Edit View dialog MIDI from File Use this command to initiate the Choose a MIDI file dialog which is very similar to a standard Windows Open dialog which can be used to pick a MIDI file files with a mid or rmi extension Once you press the dialog s Open button the MIDI file is placed at the Session Display s insertion point Note Only one MIDI file may be inserted at a time but you re welcome to re run this command as many times as desired to place multiple MIDI files in a session Video from File This command brings up the Choose a movie file dialog which strongly resembles a typical Windows Open dialog so that you can pick one video file for insertion into Adobe Audition s session window A filmstrip graphic that represents the video appears on one track while the audio from the video is placed in the track below If you want to actually see the video s visual data make sure Adobe Audition s Video Window is open View gt Show Video Window Note Keep in mind that once your video file is inserted the video block and its soundtrack are completely independent entities in the session Moving or changing one will have no direct effect on the other Also the soundtrack wave block is considered to be a newly created audio file since it was extracted from the video and will be treated as such Note Just one video file may be open in Adobe Audition at a time If you try to inse
302. format and format properties Output Format MPEG 3 FhG mp3 7 Sample Format Types For each possible type of audio data you may choose different file format properties For example a 22KHz file may need different encoding options than a 44 1KHz file Run Batch Close 1 Files jE Resample 3 New Format Help The New Format Screen of the Batch File Convert Dialog Click on the Format Properties button to bring up the Options screen for the destination format For example if youre converting waveforms to mp3 format you ll see the MPEG 1 Layer 3 Encoder Options screen where you can adjust the properties for the mp3 files you re creating The Sample Format Types box lists the sample properties of the waveforms that are to be converted If you see more than one entry in this list you may have to select different file format properties for each entry depending on the destination format For instance a 22 kHz mono waveform might need different encoding options than a 44 kHz stereo file Highlight the desired Sample Format Type entry and press the Format Properties button to make the necessary adjust ments 4 Destination This screen allows you to select the destination folder and the way files are renamed By selecting the desired radio buttons and check boxes you can e save modified files in the same folder as the file s source file or another folder e save existing files with the same na
303. formats which themselves support a variety of properties such as sample rate compression etc Some file formats may not be compatible with other systems Windows PCM wav is found most often in the Windows environment File formats can be chosen in File gt Save As Audition Loop See CEL Automation The process of making pan and volume changes in a mix that will happen every time the file plays back In many hardware mixers this is done with automatic volume and pan sliders that can be programmed to remember timing information and move themselves appropriately during playback Automation is handled by Envelopes in Adobe Audition Background Mixing This is the process that Adobe Audition uses to combine waveforms for monitoring while in the multitrack environment As its name implies background mixing occurs behind the scenes and works much of the time to reflect changes to your session such as a moved or deleted waveform a volume change or new material recorded into a track An update of the background mixing process can be seen in the Mix Gauge Band Pass Filter A filter or DSP effect that allows some audio frequencies to pass but not others Basic Cue One of the four types of Adobe Audition Cues Basic Cues are used to mark important sections of the waveform for later reference such as to remind yourself of an editing point They re also used to specify stop and start positions for the Adobe Audition s Play List Beat C
304. from four behavior options e Play View Adobe Audition will play just the portion of audio youre currently viewing from beginning to end e Play from Cursor to End of View Adobe Audition plays from the current cursor position to the end of the view This is the default behavior for this button e Play from Cursor to End of File Audio is played from the current cursor position until the end point of the file or session e Play Entire File When this option is checkmarked Adobe Audition will play the entire file or session from beginning to end regardless of the cursor position or view Pause Press this button to temporarily pause the playback or recording of audio The control turns into a Continue button when audio is paused You may also enable pause in Multitrack View by first holding down the Ctrl key and then pressing the spacebar to start playback Hitting the spacebar again will pause the playback of the multitrack session Play to End Clicking on this button plays the contents of the currently visible waveform or session window and then stops playback Right click on the Play to End control to select from four behavior options e Play View Adobe Audition will play just the portion of audio you re currently viewing from beginning to end ADOBE AUDITION 23 User Guide e Play from Cursor to End of View Adobe Audition plays from the current cursor position to the end of the view e Play from Cursor to End of File Audio is p
305. ft clicking and dragging the white Panner Point Note that as you position the Panner Point within the circular sound field the light blue Power Indicator lines coming from the speakers will change in length This indicates the power balance of your sound source coming from each of the five main channels Additionally a portion of the sphere will appear dark blue in color to indicate the image of the sound field That is when seated in the center of the speakers the blue area indicates where the listener would perceive the sound coming from You can also drag the Panner Point outside the sound field directly on top of one of the five main speakers or on top of the LFE speaker 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 This is an easy way to send the complete track signal all to one channel Panning Assignment Selector Track Options Panning Assignment Surround panner stereo source v Panning Assignment Selector At the top right of the dialog is the Panning Assignment selector where you can choose to either use the Panning Interface to position your track sound source or to make fixed panning assignments for your track To follow is a description of each of the options in this list Surround panner stereo source This option allows you to use the Panning Interface to position your sound sourc
306. g audio Because the filter s cutoff slope is much steeper at higher quality settings the chance of ringing at high frequencies is greater Usually values between 80 and 400 do a great job for most conversion needs The default value is 80 e Pre Filter To prevent any chance of aliasing the pre filter on downsampling will remove all frequencies above the Nyquist limit thus keeping them from generating false frequencies at the low end of the spectrum In general this box should be checked for best results e Upsampling quality level Enter a value 30 to 1000 for upsampling quality e Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones 224 CHAPTER 12 Options Menu Edit View e A lower quality setting requires less processing time but will result in certain high frequencies being rolled off leading to muffled sounding audio Because the filter s cutoff slope is much steeper at higher quality settings the chance of ringing at high frequencies is greater Usually values between 100 and 400 do a great job for most conversion needs The default value is 120 You should use high quality settings whenever you downsample from a high sample rate to a low rate When upsam pling a low quality setting will sound almost identical to a high quality setting The difference lies in the larger phase shift that exists at higher frequencies but since the phase shift is comple
307. g process Track Controls Adobe Audition puts 128 tracks of recording and mixing pleasure at your disposal Luckily the controls for each track are identical so if you learn one you ve learned them all The Track Controls window appears to the left of the session window and can be resized to be as wide or as narrow as you wish Track output device output bus Track recording device Tu porr 6 A Background mix status Track Controls set to the Vol Tab Along with the Vertical Portion Bar and the Mix Gauge Adobe Audition s Track Control window consists of three main areas for adjusting volume equalization and bus properties Pushing the Vol EQ or Bus buttons at the top of the Track Controls window switches between these three areas Right click on a Track Controls module to display Adobe Audition s Track Properties dialog Vertical Portion Bar By default the Vertical Portion Bar runs along the left boundary of the Track Controls window It s used to scroll through all of Adobe Audition s 128 available tracks as well as to control the number of tracks Adobe Audition shows you at any one time e Left click and drag the little hand over the Vertical Portion Bar s handle to scroll through Adobe Audition s visible track ranges from tracks 1 through 128 Drag up to see higher track numbers drag down to see lower track numbers The number of tracks that will be visible at one time will remain the same but th
308. ge Swap Channels When this box is checked the left channel of the CD s audio is placed in the right channel of Adobe Audition s Wave Display while the CD s right channel audio is placed in the Wave Display s left channel ADOBE AUDITION 51 User Guide e Spin Up Before Extraction Some CD ROM drives have better accuracy when they first read the CD if the drive is already spinning If your drive is like this check the Spin Up Before Extraction box Otherwise having this box checked doesn t really provide any advantages Error Correction Ifa CD ROM drive supports SCSI3 and ReadCD it s automatically CDDA Accurate This means that the drive has ripping error correction built in For those types of drives no error correction is needed so you won t be able to select any options from this part of the Extract Audio From CD dialog However if your drive ist CDDA Accurate you have access to No Correction and Jitter Correction options e No Correction as you d expect means that no error correction will be performed e The Jitter Correction option compensates for data reading problems that older drives might have Presets The Extract Audio From CD dialog supports Presets which allow you to save and recall favorite settings To add the current settings as a preset press the Add button A box will pop up to allow you to name the preset To remove a stored preset select it and press the Del button Preview Press the Prev
309. gger An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard Note The Shortcuts Keyboard amp MIDI Triggers dialog is fully documented in the Keyboard Shortcuts chapter 238 CHAPTER 12 Options Menu Edit View 239 Chapter 13 Navigating the Multitrack View ultitrack View is one of Adobe Audition s two major workspaces Edit View is the other Use Multitrack View M to record assemble mix and play your audio creations using up to 128 tracks Add real time effects such as equalization reverb and dynamics processing Precisely adjust the desired volume pan and effects levels for each track In this chapter we ll introduce you to Adobe Auditions concepts of images blocks and sessions We ll tell you about the basic mouse movements that are crucial to navigation Plus we ll document the interface elements that are specific to the Multitrack View the Track Controls the Session Display the Track Context menu and the Block Context menu Note Interface components that are common to both Edit View and Multitrack View such as the Level Meters and the Transport Controls are documented in the Looking at the Work Area chapter while all of the items referenced on the Multi track View s drop down menus are explained in the Edit View menu chapters The following is a typical layout for Adobe Audition s Multitrack View Screen 240 CHAPTER 13 Na
310. ght Presets Adobe Audition comes with several QuickVerb presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current QuickVerb setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Reverb Reverb is an effect used to simulate acoustic space and consists of both early reflections and echoes that are so closely spaced that they re perceived as a single decaying sound Reverb is different from the basic Echo effect in that the delays aren t repeated at regularly spaced intervals Total Reverb Length Breccren Esc Del gt fo ms Concert Hall Light Attack Time Large Empty Hall gt 2 ms Large Occupied Hall z nese Last Row Seats High Frequency Absorption Time Medium Auditorium 4 gt 1 500 Medium Empty Room Ki ai i p i Piste Reverb 1 Smooth Perception Echoey Plate Reverb 2 E E gj Mixing Original Signal dry 4 o x Reverb wet m E o fiz z I Combine Source Left and Right ix Preview i I Bypass OK Close Cancel Help FE Reverb dialog Adobe Audition s Reverb function can create a wide range of high quality reverb effects It can reproduce such acoustic or
311. ght section of the window 277 278 CHAPTER 14 File Menu Multitrack View Save 16 bit Mixdown To 2 x Recent Folders e imusic jingles kd Save in Sy Music ex Eee Free Space F Bach Suite wav Light Jazz wav CA 5953M8 Country way Desert Sand wav Gypsy Dance way Hardrock way Hawaiian Moon wav Just For Me wav Little Italy wav re ca Mozart wav EN OMB Robbie wav i A Smooth R amp B way i Temp Dir DEEE E B a S File name ted scratch mix wav Save as type Windows PCM wav Cancel JT Save extra non audio information Onions te Save Mixdown As dialog Here are the major components of the Save Mixdown As dialog Recent Folders This shows the most recently used folders Select from the drop down box to quickly navigate to a listing Savein Use this control to navigate through all available drives and folders File name Here s where you specify the name of the file Save as type Use this control to choose the format you wish to save from the drop down list of supported file types such as Windows PCM wav or MPEG 3 mp3 Some formats can t be written to using waveforms of certain sample types In this case Adobe Audition asks you if you want to convert before saving Adobe Audition also warns you if youre trying to save a waveform to a compressed lossy format and suggests that you keep a backup of your original file if you wish to pres
312. ghted entries in the Cue List into a single combined cue that spans the earliest and latest locations in the two cues Keep in mind that youre limited to merging just two ranges but there are no limitations on the number of cue points you can measure Hold down your Shift key as you click to select and highlight multiple contiguous files or depress the Ctrl key as you click to select and highlight multiple non contiguous files Note The new merged item inherits the name from the earliest item chosen You lose the information entered in the Label and Desc fields for the subsequent merged items Batch If one or more Cue List range entries are highlighted pressing this button brings up the Batch Process Phrases dialog Batch Process Phrases q xj C Set Amount Of Silence Add silence before fi 1 seconds Add silence after fa 1 seconds Save to Files Filename Prefix phrase Destination Folder Seq Start fi c sounds sfx Browse Output Format Options MPEG 3 FhG mp3 The Cue List s Batch Process Phrases Dialog Note At least one of the cues must be a cue range in order for the Batch button to be active Here are the components of the Batch Process Phrases dialog Set Amount Of Silence Select this item to add silence between cue points in the currently shown waveform Fill in the desired values measured in seconds in the Add silence before and Add silence after fields Pre
313. graph control For more infor mation about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Spline Curves Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points ADOBE AUDITION User Guide Feedback Graph Use the Feedback Graph to specify the amount of feedback in the Dynamic Delay effect The x axis horizontal edge represents the timeline of the selection while the y axis vertical edge represents the percentage of feedback Functionally the Feedback Graph works just like any other Adobe Audition graph control For more infor mation about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Loop Graphs When this box is unchecked the graphs are the same length as your selection so the dynamic changes to your delay are graphed across the w
314. greater the analysis resolution and the narrower the bar Select this option to have the left channel appear in front of the right channel e Bars Right on top Choose this option to have the right channel appear in front of the left channel in Bars mode Scan Click this button to scan the highlighted selection and show all frequencies present in that selection Advanced Press the Advanced button to see additional options FFT Size This drop down list allows you to select from several FFT Fast Fourier Transform sizes Higher FFT sizes give you more accurate results in terms of frequency such as the overall frequency estimate but are also much slower Note When you set the FFT size to 4096 or lower the Frequency Analysis window updates in real time while you play your file Keep in mind that how well it ultimately updates in real time with these settings is based on your computer s speed You can also generate a step by step animation by clicking on the main waveform window and then holding down the Right Arrow key As the cursor scrolls across the display CEP displays the spectral information in the Analysis window FFT Window Type This drop down list lets you choose from six types of FFT windows Each window type displays a slightly different kind of frequency graph The Triangular window gives a more precise frequency estimate but it s also the noisiest This means that other frequencies will be shown as present even though the
315. h all available drives and folders File name Here s where you may specify the name of the file you desire to open if it resides in the current folder Entering extension such as ses displays all files with that extension in the open folder Files of type Use this control to filter the display of files in the current folder to a specific type of supported session file such as ses As youd expect selecting the All files listing displays all files in the current folder Show File Information If this item is checked you ll see all the waveforms referenced by a session in the Component Files list along with the sampling rate and number of tracks used Append to Session This command opens an existing session and all of its associated audio files and begins track placement at the end of the currently open session For example if the currently open session has material in tracks 1 4 then using Append to Session to open another four track session would place the new material into tracks 5 8 The selected session must have the same sample rate and bit resolution as the session to be appended to The Append a Multitrack Session dialog is virtually identical to the Open a Multitrack Session dialog ADOBE AUDITION 275 User Guide Note You should note that the appended tracks are loaded into the session at the beginning of the project s timeline i e all of the tracks will load in at the project from its beginning point On
316. h as Delete Set Current Clipboard Adobe Audition gives you access to five internal clipboards for temporary data storage Each works similarly to the Windows clipboard except without the memory limitations Use this command to decide which of Adobe Audition s five available internal clipboards is active just check the one you wish to use Or choose Windows to have Adobe Audition use the Windows clipboard You ll want to use the latter option if you want to copy audio data to other Windows applications Cigbosd Ont Digbowd lnti Cate Set Current Clipboard Menu Copy This command copies the current waveform or highlighted part of the waveform to the active clipboard see Set Current Clipboard Note Keep in mind that if you want to copy audio to another Windows application the current clipboard must be set to Windows Otherwise use one of Adobe Audition s internal clipboards which are faster and can handle more data Cut Use Cut to remove the current waveform or highlighted part of the waveform to the active clipboard Paste Paste inserts data from the active clipboard at the insertion point or it replaces the currently highlighted data If the format of the waveform data on the clipboard is different from the format of the file it s being pasted into Adobe Audition automatically converts it before pasting Paste to New This command creates a new file and inserts waveform data from the active clipboard
317. hannel For instance select an L value of 50 and a R value of 50 to sum equally the current L and R channels to the new right channel after mixing Enter an L value of 100 and a R value of 0 to make the new right channel contain the material of the original left channel Invert Check the Invert box for either channel to invert that channel s phase polarity i e the peaks will become valleys and valleys will become peaks Whenever both channels are inverted there will be no perceived difference in sound However inverting only one channel places the channels out of phase and greatly changes the sound when played back whereby the previously in phase information is canceled out Presets Adobe Audition comes several Channel Mixer presets More information on presets can be found in the Looking at the Work Area chapter ADOBE AUDITION 103 User Guide Preview Press the Preview button to audition the selected Channel Mixer setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear Channel Mixer adjustments as the selection is continuously played Check the Bypass box to hear the waveform without any changes in channel mixing for a quick before and after comparison Try using the Channel Mixer s Vocal Cut preset to create your own karaoke backing tracks It should remove most if not Q all of the
318. he clipboard Histogram Tab This section displays a histogram of the RMS amplitude values in the highlighted audio selection A histogram is a bar chart that shows the distribution of frequencies with heights of the bars representing observed frequencies This can be useful for determining future amplification amounts dynamic compression amounts and more The graph shows which amplitudes are most common The x axis horizontal ruler measures the amplitude in dB while the y axis vertical ruler measures percentage The more audio there is at a particular amplitude the more the graph will show for that amplitude Left Right Buttons Use the buttons to display the corresponding channels e Select the Left option to see the waveform s left channel visualized as a histogram e Pressing the Right option displays the right channel of the waveform in histogram form Different colors are used to represent each of the two channels RMS Settings Control the display with these settings e OdB FS Sine Wave If this option is checked then this means that 0 dB displayed in any of the RMS boxes is equivalent to a sine wave at full scale with peak amplitude at 0dB using every sample value in the 16 bit range If you generate a max amplitude sine wave it ll read 0dB if this button is chosen 202 CHAPTER 10 Analyze Menu Edit View e OdB FS Square Wave If this option is selected then a full scale square wave will read out as 0dB for
319. he Advanced Session Properties window You can enter any freeform text about the session here For instance the names of the musicians who played what instrument and notes about settings 299 300 CHAPTER 15 View Menu Multitrack View i Chapter 16 Edit Menu Multitrack View he Edit Menu contains the options for editing waveform blocks in Adobe Audition s Multitrack View Undo As in Adobe Audition s Edit View Undo allows you to back up through previous edits In the multitrack environment this includes anything you might do in the way of editing or arranging waveform blocks such as moving splicing and copying Unlike Undo in the Edit View there isn t an Enable Undo function governing the ability to undo actions in Multitrack Edits done in the multitrack environment are non destructive and therefore don t create temporary files on disk Note Multitrack Edits done with real time effects don t go into the Undo list However they re totally reversible by simply removing the effect from the track s rack Edit Waveform Wave Block Only If a single wave block is highlighted this command will appear on the Multitrack View s Edit menu Access the command to send the wave block to Adobe Audition s Edit View for modification Loop Properties Wave Block Only If a single wave block is highlighted this command will appear on the Multitrack View s Edit menu Access this command to bring up Adobe Audi
320. he highs treble at any time just adjust the slider or enter a dB level in the box at the bottom of the slider High Shelf Cutoff High and low pass filters cut the extreme high or low end of the audio spectrum The high pass so named because it allows the high frequencies to pass while reducing the lows is often used to reduce low end rumble hum or other unwanted low frequency sounds To fine tune the range of frequencies being boosted or cut adjust the High Shelf Cutoff slider located directly below the graph or enter a specific frequency in the box to the right of the slider Intermediate Bands You can place up to five intermediate bands into the EQ circuit This gives you very fine control over the shape of the equalization curve Check the box next to a slider to activate the band and its corresponding volume slider The vertical sliders in the upper right of the Parametric Equalizer window control the amount of boost or cut You can also enter boost cut amount dB in the entry box below each slider The horizontal sliders located below the Cutoff sliders control the center frequency at which the boost or cut will occur A frequency may also be entered in the box to the right of the slider Width The Q or Width value depending on the Constant Q Width setting below controls the width of the affected frequency band With lower Q values or greater Width values a larger range of frequencies will be affected If a Q value is very high abov
321. he mixing process Session Files In addition to waveforms MIDI files and video soundtracks Adobe Audition also makes use of a type of file called a session file Session files ses are very small in size and simply contain the details of your Adobe Audition multitrack session as in what audio and video files are used and where the volume and pan levels the names of the tracks what real time effects are used etc With this in mind you cannot simply copy a session file to a floppy disk and have a friend open it up and play it For example if you create a session with a file called C Music hihat way and later use another program like Explorer to move hihat wav to a new folder called C Music Drums Adobe Audition won t know that you moved the file the next time you load the session Try to keep this in mind as you manage your audio elements and session files so that you don t end up losing tracks or objects inside your sessions If you want to move an entire session file and all of its embedded audio elements to a new directory choose File gt Save Session As and select Save Copies of All Associated Files Working with Premiere Pro and After Effects You can easily move projects between Adobe Audition and Adobe s video applications by using the Edit Original command in Premiere Pro and After Effects To enhance the functionality of this command you can configure Adobe Audition to link mixdown files with related session files s
322. he selection and display range is shown using the current time display format Note More information on the Sel View Controls can be found in the Looking at the Work Area chapter Show Level Meters Click on this option to display Adobe Audition s Level Meters which appear near the bottom of both Adobe Audition s Edit View and Multitrack View windows These meters display both record and playback levels Note More information on the Level Meters can be found in the Looking at the Work Area chapter Show Load Meter This option displays Adobe Audition s Load Meter which runs in a dockable window The Load Meter shows you how much CPU time is available which is especially handy if you regularly use real time effects When the meter fills up Adobe Audition has no more available computing power and your system will act erratically ADOBE AUDITION 295 User Guide Show Video Window If this option is checked a window used to view video data that s inserted in Adobe Audition s Multitrack View is displayed It initially appears in the upper left hand corner of your desktop and can be resized to fit your frame size Plus since the Video window is dockable you can reposition it at one of several places in the Adobe Audition interface Show a Placekeeper Select Show a Placekeeper to create a blank dockable window called a placekeeper Use it to more accurately define where you want a dockable window to be espe
323. he statistical data is A value of 64 is usually sufficient You ll notice that using very small numbers of statistical samples will greatly affect the quality of the various noise reduction levels With more samples a noise reduction level of 100 will likely cut out more noise but also cut out more original signal as well However a low noise reduction level with more samples will also cut out more noise but likely will not disrupt the intended signal Reduction Graph Use the Reduction Graph to set the amount of noise reduction at certain frequency ranges For example if you need noise reduction only in the higher frequencies adjust the chart to give less noise reduction in the low frequencies or alternatively more reduction in the higher frequencies The graph depicts frequency along the x axis left and right and the amount of noise reduction in percent along the y axis up and down If the line is set to Flat which is accomplished by pressing the Flat button then the amount of noise reduction used is based on the noise profile exactly The readout below the graph displays the frequency and adjustment percentage at the current position of your mouse Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Log Scale You can view the chart of the noise profile in either linear or logarithmic fashion e Check Log Scale to divide
324. he vertical scale is always in Hertz Hz The Vertical Ruler also provides access to the following display options e Left clicking and dragging the little hand vertically over the Vertical Ruler allows you to scroll through Adobe Audition s visible amplitude ranges that might extend beyond the traditional amplitude scale values e Right clicking and dragging over the Vertical Ruler automatically zooms the waveform window to show only the specified amplitude scale e Right clicking on the Vertical Ruler calls up a menu that not only lets you choose one of the aforementioned display formats but provides three Zoom options Zoom In Decreases the vertical scale resolution of a waveform s amplitude display incrementally e Zoom Out Increases the vertical scale resolution of a waveform s amplitude display incrementally Zoom Full Zooms out the vertical scale resolution of a waveform s amplitude display completely Recording in Edit View Recording with Adobe Audition in Edit View is easy You can record from a microphone your computer s CD player a MIDI source or any signal you can plug into the Line in port of your sound card Note You may need to adjust your input signal to obtain the optimum recording and signal to noise levels For most folks this is done using the Windows Mixer To record in Edit View 1 Use File gt New to create a new file 2 Select the sample rate bit resolution and number of channels
325. he waveform or session Q Right clicking on the Fast Forward button allows you to set the rate at which the cursor will move Go to End Click this button to place the playback cursor at the end of the waveform or session Record This button starts recording from the current playbar cursor position Any waveform data after this point will be recorded over Right click on the Record button to select from different behavior options which vary depending on whether yowre in Edit View or Multitrack View In Edit View you can switch between Instant Record the default and Timed Record modes Timed Record lets you use Adobe Audition as an automated time shifting recording device In Multitrack View you have three options Continuous Linear Record the default Loop While Recording View and Loop While Recording Entire Since the Play Looped button itself only applies to playback the last two options allow for looping while recording If areas are marked for Punch In i e the Allow Multiple Takes option is checked on a Wave Block s right click menu a new take is created on each looping Level Meters The Level Meters which by default are near the bottom of both Adobe Audition s Edit View and Multitrack View windows display both record and playback levels The Level Meters are in a dockable window allowing you to reposition it at one of several places in the Adobe Audition interface Or you can even detach the Level Meters window and h
326. he y axis vertical edge As you go to the right of the graph you are setting the frequency characteristics of the highlighted sample later and later in time The settings chosen will vary between the low and high settings depending on where the graph dictates the signals should be Choose the highest and lowest frequencies that are represented on the graph with the scroll bars located in Low High Settings below The readout below the graph displays the current x y position of your mouse Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Smooth Wave When checked the audio that appears at the left and right channels will be smoothed out The left and right channels will delay and un delay following a smooth curve such that the delay difference between the left and right channels will follow a sine wave pattern even though the brain will hear the audio as traveling around the head in a circle When Smooth Wave isn t checked the net delays are the same but are achieved by holding one channel constant at no delay while the other channel is delayed following half a sine wave The boundary between holding non delayed and delaying signal is discontinuous in that the dD dt difference in delay over time jumps from zero to a positive delay value without hitting any values in between When Smooth Wave is checked the dD dt is always continuous
327. hen enable the Detect Big Pops option and use settings from about 30 which will find pops that are kind of quiet to 70 or so which will only find the very loudest pops Multiple Pass Some clicks may be too close together to be repaired effectively so going over the audio with another pass will often catch those clicks that weren t found the first time around If this option is checked then any number of passes up to 32 will automatically be performed Adobe Audition will perform fewer passes if no more clicks are found and all detected clicks have been repaired Generally about half as many or fewer clicks are repaired on each successive pass When using multiple pass mode a higher detection threshold may lead to fewer interventions in repairing and increase the quality of the result somewhat while still removing all clicks In the same vein higher rejection thresholds may lead to better results Correction Set the following correction options ADOBE AUDITION User Guide FFT Size Is the size of the FFT Fast Fourier Transform that will be used to repair the clicks pops and crackle In general it s a good idea to just let the program itself decide on good FFT size choices by checking the Auto box However you may wish to override the automatic setting and give a specific FFT size from 8 to 512 to use for click repair when processing some types of audio A good starting point is an FFT Size of 32 If the clicks are still quit
328. her reposi tioning the playback cursor to match the code or perform a full re sync Generally a setting of about 2 5 frames will do as there are occasions when the time code frame location numbers may be incorrect usually corrected on the next frame sent This will not cause a sync problem in the audio sense The default value is 1 frame Clock Drift Correction Time This specifies how many samples to crossfade when making time corrections to audio played back so the playback chases the time code The default value is 200 samples Reposition playback cursor when shuttling If selected the playback position will readjust if the sync is off by the Slack amount Full re sync when shuttling If selected a full re sync will be performed if the sync is off by the Slack amount Device Properties ADOBE AUDITION User Guide The Device Properties dialog is where you tell Adobe Audition which devices to use for playback and recording of waveforms as well as input and output of MIDI signals Wave Out Tab This area is where you specify Adobe Audition s parameters for playback of waveforms If you have multiple sound cards or a single card that has multiple outputs they ll show up as choices in the drop down list at the top left corner of this window The capabilities of the selected output device are shown in the Supported Formats table A Yes or No is shown for different combinations of sample rate and bit resolution This table also s
329. ho first Each successive echo is passed back through the equalizer allowing for control in simulating the natural sound absorption of a room A setting of zero will leave the frequency band unchanged while a slider s maximum setting of 15 will decrease that frequency by 15db And since it would be 15dB for each successive echo some frequencies will die out much faster than others Note Unlike most other equalizer like controls you can t increase the attenuation of frequencies with Successive Echo Equal ization you may only decrease them Continue echo beyond selection When this box is checked the echo effect continues beyond the right hand boundary of the waveform s selected range Sounds that extend beyond this boundary will not be affected In other words the selected range will be echoed and this echo will naturally decay beyond the selection boundary while unselected sounds will not be echoed If the box isn t checked the echo effect will stop at the right most waveform boundary visible in the waveform window This means if the window is zoomed in the echoing will stop before the range or file ends Make sure there is enough silence at the end of the waveform for the echo trails to complete If the echo abruptly cuts off before it fully decays undo the Echo effect add several seconds of silence using Adobe Audition s Generate gt Silence command and then rerun the Echo effect Presets Several Echo presets come with Adob
330. hole selection If you check Loop Graphs the graphs are only as long as specified so they loop repeatedly over the course of the selection Checking Loop Graphs also enables the Frequency Period Total Cycles and Stereo Phasing fields Frequency Period and Total Cycles are all ways of determining the length of the looped section You can either specify the how fast the cycle should move Frequency how long the graphs should be Period or how many times you want the graph to loop in the given selection Total Cycles If you change one of these values the other two reflect the change Stereo Curve Difference This setting is only effective when Dynamic Delay is used in Adobe Audition s Multitrack View It s the number of milliseconds one channel is behind with respect to the other when following the envelope you draw in Multitrack View Positive values will delay the right channel while negative values will delay the left The audio itself isn t delayed just the curve used This leads to a neat effect where the phasing sound of the delay lags in one channel with respect to the other Automated When using Dynamic Delay as a real time effect in Multitrack View it supports parameter automation Check the Automated box in the Delay section of the Multitrack View version of the Dynamic dialog to draw the Delay curve using a purple envelope on waveform blocks Note You must have View gt Show FX Parameter Envelopes in Multitrack View turned on
331. how on Play and Record Selecting this option causes the Level Meters to operate during the playback or recording of audio Clear Clip Indicators If clipping occurs i e incoming audio is greater than 0dB then the Level Meter s red lights come on and stay on until cleared Choose this option to reset the red lights You may also click on the Clip Indicators at the right edge of the Level Meters to clear them Note The clip indicators will always light if clipping occurs but if Adjust for DC is enabled the indicators may light up when the audio has a DC offset Adjust for DC Many sound cards record audio with a slight DC offset which means that the center of the waveform being recorded is not at the exact center of the waveform display but a little above or below it This can dramatically throw the level meters off since the amount the waveform is displaced could be interpreted as a constant sound that loud To compensate make sure this menu item is checked The recording meters will dynamically adjust to the DC offset and display the true amplitude of the signal in decibels Show Valleys Just as the yellow indicators show peak levels if Show Valleys is chosen valley levels minimum amplitudes will be marked as well This gives a good indication of the dynamic range of the audio If the valley indicators are close to the peak indicators the dynamic range the difference between the quietest and loudest sounds is low If they re
332. hows what if any 32 bit formats the output device can handle and whether it can accept the WDM driver extensible wave format Device Properties x Wave In MIDI Out MIDI In Ext Controller SB Live Wave Device vj Order ist Change W Use this device in Edit View Limit Playback to Send 32 bit audio as Supported Formats I Sbit 3 byte Packed PCM pot z len 2 bil 4 ate ono Stereo Mono Stere z a a c TREN 8K Yes Yes Yes Yes DOR O O S IEEE float 11K Yes Yes Yes Yes 16K Yes Yes Yes Yes 22K Yes Yes Yes Yes 32K Yes Yes Yes Yes 44K Yes Yes Yes Yes 48K Yes Yes Yes Yes 96K Yes Yes Yes Yes 24 bit 3 byte packed supported 32 bit 4 byte PCM supported 32 bit IEEE Float supported WDM Extensible Supported faa J Enable Dithering bits 24 a pdf Triangular Shaping Cancel Help No Noise Shaping The Wave Out Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted output device To change this order press the Change button to bring up Adobe Audition s Device Ordering Preference dialog Use this device in Edit View Check this box to have Adobe Audition use the highlighted output device for playing waveforms in Edit View Limit Playback to Use this option to compensate for limitations imposed by your hardware For instance if your sound card doesn t handle 32 bit audi
333. ical Scale Format sirar raano ARE EEOAE abd dea 88 Toolbars caistaactestenntgaaad r E Ea ANEA 88 StAtUs Baf lt x iiss onenn u EER EERON EEDE EAE 89 Wave Properties cadseniaeiss aidcae cad ere Dana AE Ean anes 89 Effects Menu Edit View Invert essed asavsssizinae r uaaa ausher asain ssecdia ard OAE a E LAES 97 Reverse 5 a saca a sgiz aaa oaan EA A EEEE ESS 97 SENCE ne ctvadcsegeasgenae ctv eaeenteed MaGhoes Mage EDEN ea 97 Amplitude s ccsicuiecsaa pics adeaer nena teens ba abe RAEN tes 97 Ampy geescusaatassenaeeesaeeeaeeee tea ennes ae E eRe Ese 97 Binaural Auto Panner oo eee eee eet e eee ence ene enes 100 Channel Mixer dccicd naccetsideueiaces ie eieeaetateganadead 102 Dynamics PrOceSsING sicds ccnerawnernesedeaewiaedmeian Eis 103 Envelope erry neeem EEE TAEI TU ERES 109 Hardibimiting soertar E E E EE AE EAEE 110 Normalize 2s acsccadescincsen E EEEE E TA 112 Pan Expand cato rE E E clase eee ERTA 113 St r o Field Rotate orrors a EEEE A ERTAN EN RUA 114 Delay Effects antaras r na a ihr serena EER 116 GHOMUS ccs seh arcades aoa ESR AO EG 116 Delay saicccesdi esana aie a E nA EES 120 Dynamic Delay sccicesvide eri eege ey teeeds deainssinas EENES 121 ECHO a E EEA S E AET 123 Echo Chamber grcsuiscccdarsdedaetiaonsctiserinavarnetepees 125 FIGNQER sicion a EE TO E EERE 128 Full Reverb caccsccauns riesaa aeaee a a iA 130 Multitap Delay saciaderneacnts cevicda evi ehoahaawbaddenas oe ss 135 QUICKVErD cestseusyaketau
334. ies to your satisfaction When finished switch back to Multitrack View the highlight will be retained and choose Adjust Bound aries to have the waveform block readjust to match your highlight Trim This Trim command works in the same fashion as Trim in the Edit View All material will be removed from the selected waveform block except the portion within the highlight Use Trim to remove unwanted material around a selection You may also trim an area using the Adjust Boundaries command Trim differs from Adjust Boundaries in that Trim won t reveal any material within a highlighted region Trim will only remove that which is outside of the highlight for the selected waveform block Note Unlike the Trim command in Adobe Audition s Edit View this version does not remove any data from the actual sound file Trimming in Multitrack View simply tells Adobe Audition to disregard this material when playing back You may return any trimmed block to its original state at any time by selecting it and choosing Edit gt Full 312 CHAPTER 16 Edit Menu Multitrack View Cut Cut will remove the highlighted portion of a selected block For example if track 3 contains a wave block that is five seconds in length selecting it highlighting the third second and choosing Cut will remove the third second leaving the two second portions on either side If you want to remove unwanted material around a highlighted region use Edit gt Trim instead
335. iew button to audition the CD audio that will be extracted Your CD ROM drive doesn t need to be physically hooked up to your sound card in order to hear the preview since Adobe Audition actually rips the preview audio When the audio begins to play the Preview button turns into a Stop button Click it to discontinue the preview Revert to Saved Use Revert to Saved to reload the currently visible waveform from disk This discards any edits that were made since the last time the file was saved Close This closes the currently displayed editing window If any changes have been made to the waveform since the last time the file was saved to disk Adobe Audition asks you if you wish to save them When a waveform is closed its associated temporary file is automatically deleted as well Close All Waves and Session Use this command to close all editing windows and the current multitrack session if any simultaneously You re prompted to save if necessary Close Only Non Session Waveforms All waveforms not currently inserted in a multitrack session are closed when this command is used You re given the option to save any modified unsaved files 52 CHAPTER 5 File Menu Edit View Save This saves a modified waveform to disk using the waveform s existing name and format No options are provided Note To save newly recorded waveforms use the File gt Save As command Save As This command brings up the Save Waveform As wi
336. ifference between channels e A mono in phase waveform will display as a rising diagonal line from left to right e An inverse left channel 180 degrees out of phase waveform the right channel is in phase will display a line descending from left to right e A right channel only waveform will display as a horizontal line e A left channel only waveform will display as a vertical line e Most stereo audio is generally fuzzy looking upward sloping from left to right e If audio has very wide stereo separation the display will be going in almost all directions 198 CHAPTER 10 Analyze Menu Edit View Phase Analysis Phase Analysis Window The Phase Analysis window can float above Adobe Audition s main interface or dock at any one of several places within it Note The Phase Analysis window is designed to be used with stereo waveforms only If used with a mono audio file all you ll see on the graph is a single line Should only one channel of stereo waveform be highlighted the Phase Analysis window will show a moving straight line as the audio file is played a horizontal line if it s the left channel a vertical line if it s the right channel Normalize Press this button to make the phase analysis visualization as large as possible so the largest of its edges reaches the graphing window s boundary M S Button When the M S Mid Side button is pushed the display is essentially rotated to the left by 45 degrees The
337. igher quality levels should produce more pleasing sounding results Presets Adobe Audition comes with several Doppler Shifter presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Doppler Shifter setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Pitch Bender This effect varies the pitch of the source audio over time Use the graph to draw your tempo to create smooth tempo changes or effects such as that of a record or a tape speeding up or slowing down 184 CHAPTER 8 Effects Menu Edit View os 10 lat 08 ihe ee AS EI Zero Ends Down a Whole Step Just Winding Up Quality Level Very Good X Squirrely Turntable Losing Power Range 8 semitones Up a Whole St pa Whole Step C i BPM with base of 120 BPM Cancel Length will change from 1 81 sec to about 1 72 sec Pitch Bender dialog Pitch Graph Use the graph to draw your tempo change over time The x axis lower horizontal border of the graph represents the sound file or highlighted section s time duration while the y axis right vertical border represents pitch measured in semitones or beats per minute depending on the Ra
338. ignal so that it s out of phase will often greatly reduce or eliminate the vocal track s level When converting a stereo recording of monaural material that is the exact same contents are on both channels to a Mono waveform try setting either the Left Mix or Right Mix to 100 and the opposite channel to 0 This often results in a cleaner sounding mono recording especially if the original recording was made or played back on a tape recorder with improperly aligned heads Resolution Use this control to choose the bit resolution to convert to When converting to a lower resolution the Dither options are enabled Dither Use Dither to reduce noise and distortion to figures below their current levels through the addition of small amounts of white noise Although a small amount of noise is introduced into the circuit the result is far preferable to the increased distortion that you would otherwise be listening to at low signal levels Note When converting to lower resolutions dithering allows you to hear sounds that would otherwise be masked by the noise and distortion limits of 8 bit audio or quieter than the 16 bit limit provides when converting from 32 bit ADOBE AUDITION 77 User Guide If Dither isn t checked quiet audio passages will just fade in and out of a disruptive choppy sound that resembles falling rain or static Whether or not dithering is used depends on the audio that s being converted and of course you
339. ike a bad tape player Portions of both signals must be present if you want to achieve the charac teristic cancellation and reinforcement that occurs during flanging ADOBE AUDITION 129 User Guide Initial Mix Delay This slider sets the point in milliseconds at which flanging will start behind the original The flanging effect occurs by cycling over time from an initial delay setting to a second or final delay setting Final Mix Delay This control sets the point in milliseconds at which flanging will end behind the original It refers to the flange effect s secondary or final delay setting with the flange being cycled between this and the Initial Mix Delay at a specified rate Stereo Phasing This control lets you set the left and right delays at separate values which are measured in degrees For example a setting of 180 puts the right channel at the initial delay value at the same time that the left channel is at the final delay value This setting can reverse the initial final delay settings for the left and right channels thus creating a circular psychedelic effect Feedback The Feedback slider determines what percent of the flanged signal is fed back into the flanger With no feedback the effect only uses the original signal With feedback added the effect uses a percentage of the affected signal from before the current point of playback Mode Three options are offered for mode e Inverted Check this box to invert the delayed
340. ile gt Open As or File gt Save As click on Options and try to find the format you want to use When exporting to an ACM format you may first need to use Edit gt Convert Sample Type to convert the file to a format supported by the ACM codec 64 bit doubles RAW dbl This format is 8 byte doubles in binary form 8 bytes per sample mono or 16 bytes per sample stereo interleaved Just as raw PCM has no header and is just audio data so does the 64 bit doubles format 8 bit signed sam This format is popular for building MOD files since audio in MOD files is 8 bit signed Many MOD editors allow samples to be inserted from files or exported to files in this format 8 bit signed raw format data with the sam extension is assumed to be 8 bit signed raw data with no header The sample rate is assumed to be 22050Hz but the actual sample rate can be changed once the file is loaded using Edit gt Adjust Sample Rate A mu Law Wave wav The A Law and mu Law formats CCITT standard G 711 are common in telephony applications These encoding formats compress the original 16 bit audio down to 8 bits for a 2 1 compression ratio with a dynamic range of about 13 bits 78 dB While A law and mu Law encoded waveforms have a higher signal to noise ratio than 8 bit PCM it s at the price of a bit more distortion than the original 16 bit audio Still the quality is higher than you would get with some 4 bit ADPCM formats Note Files save
341. ime or 3 for 3 4 time e Ticks per Beat reflects the number of sections each beat is divided into or the value displayed after the decimal point You can set Ticks per Beat to any value from 2 to 3600 If you use 32 ticks for each beat then a time setting of 4 2 16 would be the eighth note half way between beats 2 and 3 in common time CHAPTER 7 View Menu Edit View e Define Custom Frames Clicking on this option brings up the Adobe Audition Settings screen open to the General tab where you may enter a new value measured in frames second in the Custom Time Code Display field Vertical Scale Format This menu lets you choose between several vertical scale formats for use in the y axis vertical ruler including Sample Values Normalized Values Percentage and Decibels As with the Display Time Format there are several ways you can change this format Choose View gt Display Scale Format from the menu or you can selectively cycle through the available time formats by double left clicking on the vertical scale waveform ruler In addition right clicking on the vertical scale waveform ruler displays a pop up window that will let you select between formats Note When the wave display is set to Spectral View the vertical scale is always in Hertz Hz Sample Values This display type numerically indicates amplitude as the data s exact sample value of the data Normalized Values This display type numerically indicates amplitude on a n
342. imes are each set to 5 milliseconds making 10 milliseconds total then a vibrating sound at 100Hz will be heard Thus a total value of about 30 milliseconds is about as low as you can go without introducing these effects e Release Time is the release time measured in milliseconds applied when retrieving the current amplitude infor mation Release Time is the time it takes the end of a previous output level to reach the specified output volume For example where the Attack is the time it takes for the start of a pulse to reach the desired output volume the Release is the time it takes for the end of the pulse to reach the desired level e Peak RMS Two methods of graph interpretation are provided for this effect Peak and RMS e Peak Mode is a little more difficult to use than RMS and is considered by many to be outdated It equates to the RMS value times two That is if the RM value is 20dB then the equivalent peak value will be 40dB This occurs because the RMS value calculated was mapped to a peak sample value for output This method is basically here for backward compatibility e RMS is the graph interpretation method that more closely matches the way people hear volume This mode causes the output to be exactly the RMS amplitude that s specified in the graph For instance a limiter flat horizontal line at 10dB causes the RMS amplitude of the result to average 10dB where 0dB is a maximum amplitude sine wave without clipping
343. in eter dneieaneeneeaeoeeee s 295 Display Time Format siss ATE Are Meiaes ids SS 295 Toolbars araa Gade tana AAEE E S 295 Status Bar prsata un EEEE N E A EAEE N 295 Advanced Session Properties 0 cece cece cece e een e ee re 296 Edit Menu Multitrack View Undo Access eE A PATET EE EKATE AROEN 301 Edit Waveform Wave Block Only 10 0 see eee eters eee ees 301 Loop Properties Wave Block Only oo eee e cece eee eee eee 301 Allow Multiple Takes Wave Block Only 2 eee eee eee ee 301 Take History Wave Block Only se eee eee ee eee eee ee eee 302 Adjust Wave Volume Wave Block Only 2 sees eee e eee ee 302 Adjust Wave Pan Wave Block Only 00 eee eee ee eee eee ee 302 Wave Block Properties Wave Block Only 0 eee eee eee eee 303 Transpose MIDI Block Only 0 se eee eee e cence neirens 304 Set Tempo MIDI Block Only ee cece eee eee eee eee ee 304 Zoom in Zoom out MIDI Block Only ee eee eee eee ee eee 304 Active Track MIDI Block Only oe eee cece ence eee eee ee 304 Set Controller 7 MIDI Block Only 1 ee eee eee eee eee eee 305 Mix Down to File ccc iicis bene mineri R oE cae sere sedis 305 Mix Down to Empty Track N Bounce se eee eee eee eee eee 305 Group BIOCKS anuria kiedvtaathl adden geetewiniade as 306 Group Color skorra deta Gs E a a othe E 306 BIOCK Color sesisiscvrescreeise ends deed aeeite oad Sathoadee gneceeedss 306 PUMCKIN ccaeccictecincnce a
344. in order to use parameter automation Echo This function adds a series of repeated decaying echoes to a sound For a single echo use the Delay function instead 123 124 CHAPTER 8 Effects Menu Edit View CE i x m Echo Characteristics Decay L mal a aa ml x Delay Lal a Riam HAM ms Initial Echo Volume La leiho x R4 Bo a7 E T Lock Left Right J Echo Bounce Presets _Add _Del 1950 s Style Echo a 50s Sheen Auditorium Canyon Cheap Springs Drain Pipe Light Echo Hall Midtones Following 427 102 76 46 28 47 0 74 E BAE Be E E E of A mi p ja P af B S B N B Br E B 86 172 344 689 1 3K 2 9K 7 3K 22K m Successive Echo Equalization Echo dialog You can create striking stereo echo effects by using different Left and Right channel values for the Decay Delay and Initial Echo Volume controls Echo Characteristics The following characteristics can be applied to echoes e Decay is the falloff ratio of an echo Each successive echo will trail off at a certain percentage less than the previous one A decay setting of zero percent results in no echo at all while a decay of 100 percent produces an echo that never gets quieter e Delay sliders are used to specify the number of milliseconds that is placed between each echo For example a setting of 100 milliseconds results in a 1 10th second delay between successive echoes e Initial Echo Volume Adj
345. ine on the graph represents where the estimated noise floor exists for each frequency in the source audio This information will be used to determine if audio is hiss or desirable audio data The actual value used when performing hiss reduction will be a combination of the graph and the Noise Floor Adjust slider which is used to shift the estimate noise floor reading up or down for fine tuning Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Viewing Left Right Select the Left button to view the left channel of the waveform in the Hiss Reduction graph The Right option allows you to display the waveform s right channel ADOBE AUDITION 169 User Guide Get Noise Floor This is the most powerful feature of Hiss Reduction If a good estimate of what the noise floor looks like i e how it s shaped is graphed Adobe Audition s Hiss Reduction algorithm can more effectively remove just hiss while leaving regular audio untouched Optimally you should click on Get Noise Floor with a section of just hiss highlighted in your waveform This will design a graph that most accurately reflects the noise floor If no such area can be found in the waveform select an area with the least amount of music or other desired audio For best results choose an area of audio that has the least amount of high frequency information If viewing in spect
346. ing The value used to determine the amount of normalization is either the Loud or Eq Loud value depending on if the Use Equal Loudness Curve box is checked in the Normalize tab If limiting is used then actual clipping won t occur but instead the louder portions of audio will be limited to prevent actual clipping Generally you don t want this value to be more than 5 Anything higher than this may result in audible artifacts in the louder portions of audio Reset Press this button to clear all of the normalization statistics for the files in the list You can select any subset of files and clear just those 71 72 CHAPTER 6 Edit Menu Edit View Double click on any of the files in this list to see a more detailed account of statistics including a complete RMS Histogram which shows the relative amounts of audio at each loudness level and a Clipping Profile which shows how much clipping will occur for each decibel of amplification 3 Normalize Tab This is the area where you specify how youd like to have Adobe Audition normalize the listed waveforms Step 3 Normalize selected files to the same loudness level Normalization Normalize to Average Level of Source Files 0 dB Normalize to a Level of dB N Use Equal Loudness Contour mid frequencies more important Max percent over clipping 0 Out of Band Peaks Advanced No Limiting Clip Statistics RMS Width 50 ms Use Limiting Lookahead Time 12 ms
347. ings C OdB FS Sine Wave Window Width 3E ms OdB FS Square Wave IV Account for DC Recalculate RMS Help Waveform Statistics dialog Histogram tab You can jump to the exact location in the waveform for certain values by clicking on the appropriate arrow button to the right of that value General Tab Minimum Sample Value This field shows the minimum sample values in the waveform or highlighted range Press the gt button to place the playbar cursor at that location The Waveform Statistics dialog is automatically closed Maximum Sample Value This field shows the maximum sample values in the waveform or highlighted range Press the gt button to place the playbar cursor at that location The Waveform Statistics dialog is automatically closed Peak Amplitude The waveform s peak amplitude is shown here Peak amplitude is the absolute maximum sample value given in decibel form Press the gt button to have the playbar cursor jump to the peak amplitude in the waveform The Waveform Statistics dialog is automatically closed Possibly Clipped Samples This field displays the number of samples which may be clipping those that reach 32768 or 32767 for 16 bit waveforms for example Press the gt button to have the playbar cursor jump to the first clipped sample The Waveform Statistics dialog is automatically closed DC Offset The measure of the DC Direct Current or center of the waveform is shown here measured i
348. int on the graph click and hold on the point and drag to a new location e To remove a point from the graph click and hold on the point and drag it off the graph Note When the mouse cursor is located over a control point you ll see it change from an arrow to a hand Transport Buttons Just like many hardware based audio recording and playback devices Adobe Audition provides VCR like transport buttons for playing recording stopping pausing fast forwarding and rewinding your waveforms and sessions The Transport Buttons are in a dockable window allowing you to reposition them at several places in the Adobe Audition interface Or you can even detach the Transport Buttons window and have it float above Adobe Audition s main window pamoga KKA lt lt CAPTION TO BE WRITTEN gt gt To close the Transport Buttons window when it s floating click on the X control in its title bar To get rid of the Transport Buttons window when it s docked right click on its grab bar and select Close from the pop up menu Or simply uncheck the Show Transport Buttons item from the Edit menu to close it in either docking or floating mode Here s what each transport button does Stop Click on this button to stop the playback of a waveform or session Play This button plays the portion of the wave or session that is currently being viewed or that s highlighted from the current cursor position Right click on the Play button to select
349. inuously played Automated When using Dynamic EQ as a real time effect in Multitrack View it supports parameter automation e Check the Automated box in the Gain section of the Multitrack View version of the Dynamic EQ dialog to draw the Gain curve using a yellow envelope on waveform blocks e Check the Automated box in the Frequency section of the Multitrack View version of the Dynamic EQ dialog to draw the Frequency curve using a pink envelope on waveform blocks Note You must have View gt Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation 146 CHAPTER 8 Effects Menu Edit View FFT Filter The graphic nature of the FFT Fast Fourier Transform Filter makes it easy to draw curves or notches for rejecting or boosting specific frequencies Use it to create band pass filters which keeps only a certain band of frequencies high low pass filters for reducing or eliminating the low or high end frequencies narrow band pass filters to simulate the sound of a telephone call or notch filters which eliminate very narrow frequency bands FFT Filter E xi Passive C Logarithmic View lnitial Fiter Graph View Fina M LogScale Spline Curves _ Flat Max 100 FFT and Windowing Min 0 g Presets Au 2a FFI Size Windowing Function Bypass 2048 x Blackman 7 Preview OK Time Variable Settings IV Lock to Constant Filter Close Precision Fa
350. ion Date 2001 0520 Fill fields automatically Wave Properties Dialog Text Fields tab 90 CHAPTER 7 View Menu Edit View Use the Text Field Names drop down list to choose which field format youd like Adobe Audition to display in the Text Field window Standard RIFF Radio Industry or MP3 ID3 Tag If you select Standard RIFF these fields are available Display Title This should describe the sound or if there are words in the waveform the text This field should be as short as possible since it will be displayed in OLE objects and the like Original Artist Enter the name of the one who created the sound initially Examples are The Rolling Stones George Jetson or even your name Name The title of the waveform goes here Genre Specify the musical classification of the sound For instance you could put in Country Rock New Age Voice or Jazz Key Words If you plan to organize waveforms in software that supports searching off the Key Words field then you ll want to include key words here Key words should be separated by a semicolon followed by a space For example Guitar Concert Classic Rock Eric Clapton Digitization Source Enter where the sound was digitized from such as a cassette deck a CD an LP or a microphone You might want to describe the sound card used here as well Original Medium Describe where the sound came from originally Examples Live Band Trumpet Keyboard Vocal Engineers
351. ion is fully mixed You can think of this meter as a ready indicator However you need not wait for the meter to reach completion entirely before beginning playback As stated above Adobe Audition continuously mixes and will continue to do so while playing so you can safely begin playback when the Mix Gauge meter is about halfway up ADOBE AUDITION 9 User Guide In general if the background mix is not sufficiently complete you ll hear a break up or skipping when playing back the mix If that happens just wait a few seconds Adobe Audition will usually catch up very quickly and you can begin playing again Your audio might also start to break up if you are using real time effects in multitrack view and your system cannot keep up with the processing If this happens try using the Lock feature on some of your effected tracks to mix the effects into the background mix and take some load off of your CPU Playback can be directed to a pair of outputs as in a single stereo sound card or to multiple outputs as in multiple stereo sound cards or a single card with multiple outputs Adobe Audition produces a mix for each set of outputs used If youre using one stereo sound card Adobe Audition generates just one mix but if you have multiple outputs it must create a separate mix for each output device typically a stereo pair The additional mixing required for multiple outputs demands more processing power and therefore tends to slow down t
352. ipt in the list before you edit or run it Open New Collection Pressing this button brings up a standard Open dialog with which you can browse your system s folders for script scp files Double click an existing scp file to open that script collection To create a new script collection navigate through the dialog to the folder that you would like to save the scp file and enter a name for it in the File Name field Next press Open to save the script file It will then be ready for use in a new script collection To name a script collection press the Edit Script File button The Windows Notepad applet will be launched with the script file loaded Look for the Collection entry it s on the first line of the script file and overwrite New Collection with your new title Then save the file Note The text in the Script Collections field will not reflect the name change until you reload the script Run Script Click on this button to run the currently selected script If the script type isn t compatible with Adobe Audition s current state i e trying to a Script Starts from Scratch script with a file open the script won t run until Adobe Audition s condition matches the requirements in this case closing all open files Batch Run A single script can be run repeatedly over a group of source files The script must have been recorded in a Works on Current Wave mode that is before the script was recorded there must have been
353. is drop down menu contains all of the presets that come with the program as well as the ones you ve created yourself To choose one simply select it from the list The currently selected color scheme will be displayed in the Example window Save As Press this button to save the currently selected color scheme as a preset Delete Clicking this button deletes the currently highlighted color scheme preset Waveform Tab This list contains all of Adobe Audition s waveform elements which can be given custom colors Choose an item from the list and press the Change Color button to bring up a dialog for adjusting the element s color After the new selection has been made the example to the right will change to reflect the newly chosen color Selection The controls in this section are used to adjust the appearance of the selected highlighted portions of waveforms and blocks The example to the right dynamically changes as you make modifications e Transparency Use this slider to adjust the transparent value measured in percentage of a selection 0 is no trans parency while 100 is maximum transparency You may also directly enter a percentage in the box to the right of the slider e Invert Check this box to have the selection colors be the inverse of the non selected colors The Transparency controls are disabled Spectral Tab This is where you can adjust the display parameters for Adobe Audition s spectral display Pick an item from the
354. is option is especially handy for working on audio for CD Note While dragging a block in Multitrack View a white line will appear over the length of the tracks when Snapping points meet For instance if Snap to Blocks is selected the white line will signal snapping as you drag a waveform block pass the beginning or end of other waveforms Refresh Now Choosing Refresh Now instructs Adobe Audition to initiate the background mix from scratch This will rebuild your session s output Check For Hidden Blocks Run this command to see if you have any blocks completely hidden by other blocks in your session If you do the smaller blocks appear on top of the larger ones Chapter 17 Insert Menu Multitrack View Multitrack View Both active files those already opened in Edit View and inactive not already opened files may se the Insert Menu to import wave files MIDI files video files and audio from video files into Adobe Audition s U be easily inserted Wave from File This command activates Adobe Audition s Open a Waveform dialog It allows you to choose one or more supported wave files to be placed at the insertion point in the Session Display You can open several wave files at once by selecting them with the Shift key pressed for contiguous selection or Ctrl key pressed for non contiguous selection Multiple waveforms are placed at the insertion point each on its own track Note More information on the Open a Wave
355. is setting determines the size of the chunk of audio data used when preserving pitch or tempo while elongating or truncating a waveform The higher the value the more precise the placement of stretched audio is over time However artifacts are more noticeable as rates go up At higher precision lower splicing frequencies may add stutter or echo If the frequency is too high it may sound tinny or like talking through a tunnel ADOBE AUDITION 187 User Guide If the low precision mode is used you can improve the quality of stretched mono tonal pure tone samples by choosing Q a Splicing Frequency that s evenly divisible into the frequency of the sample Use the Frequency Analysis window to find the sample s base frequency then divide by an integer to get the Splicing Frequency For example if the tone was reported to be 438Hz dividing by 20 gives 21 9Hz Thus using 21 9Hz as the Splicing Frequency will greatly improve the quality by reducing phase artifacts For non tonal or noisy samples the Splicing Frequency doesn t matter as much e Overlapping When stretching or compressing chunks of audio are overlapped with previously transformed chunks This setting determines how much the current chunk will overlap with the previous and next ones If you find youre getting a chorus effect when stretching you can lower the overlapping percentage However doing so may produce a choppy sound If so adjust the overlapping value to
356. ise Help ikek Dynamics Processing dialog Attack Release tab Gain Processor The Gain Processor amplifies or attenuates the signal depending on the amplitude detected Here are its components e Output Gain is a gain applied to the output signal It s the last step performed on the audio e Attack Time is applied just before output Attack time determines the time in milliseconds that it takes for the processed output signal to reach its specified output volume If there s suddenly a quiet portion that drops 30dB it will take this much time before the output actually drops to its corresponding volume level e Release Time is applied just before output Release Time is the time it takes the end of a previous output level to reach the specified output volume For example where the Attack is the time it takes for the start of a pulse to reach the desired output volume the Release is the time it takes for the end of the pulse to reach the desired level Note If the sum of Attack and Release times is too short less than about 20 milliseconds total audible effects such as a vibrating sound can be heard at around 1000Hz ms total For example if the Attack and Release times are each set to 5 ms making 10 ms total then a vibrating sound at 100Hz can be heard Thus a total value of about 30 ms is about as low as you can go without introducing these effects e Joint Channels In stereo each channel can be compressed indep
357. it resolution than at 8 bit resolution which only has a 48 dB dynamic range Compact disc players have 16 bit resolution Some sound cards support resolutions greater than 16 bit Adobe Audition supports up to 32 bit sample rates It s best to remain at the 32 bit level while working in Adobe Audition and convert down for output in order to best represent the audio after transforms have been performed Block A segment of audio in Adobe Audition s Multitrack View that can be dragged separately A block can be one of several data types a wave block a MIDI block or a video block Brown Noise Brown noise has a spectral frequency of 1 f 2 This means in English that there much more low end and there are many more low frequency components to the noise This results in thunder and waterfall like sounds Brown noise is so called because when viewed the wave follows a Brownian motion curve That is the next sample in the waveform is equal to the previous sample plus a small random amount When graphed this waveform looks like a mountain range Bus An electrical conductor that makes a common connection between several circuits In the case of Adobe Audition s Multitrack View a bus lets you make a common connection between several tracks Bus Effects Configuration This dialog shows tabs for each effect on a given bus It s where you actually set the properties for that effect such as the delay length Bus Effects Rack The Bus Effects
358. itrack View Session Properties Click on this command to show Adobe Audition s Session Properties window a dockable window which displays useful information about your multitrack session This window is especially handy to have visible and docked when youre working on loop based sessions because loops with defined tempos will match the specified parameters which is most useful with matching tempo El a120 bpm 3 beats bar psrenceom N lt Ml Metronome Multitrack Session Properties window Here are the components of the Session Properties window Tempo The tempo of the session measured in beats per minute is shown in this field Click on the field to make it editable so that you can enter a new figure if desired Beats bar This field shows the number of beats per bar You can change this figure by clicking in the field and entering a new number Key The session s key is shown here Select a new key by using the drop down list which will automatically update the beats bar field Time You ll see the session s time signature in this field A different time signature may be chosen using the drop down list Advanced Clicking on this button takes you to the Advanced Session Properties dialog which is documented later in this chapter Metronome Press this button to toggle the on off status of Adobe Audition s built in metronome Show Mixers Window Checking this item displays Adobe Audition s Mixers window whi
359. ization Band Use this drop down list to select the band that s to be modified with the value entered in the Gain box to the right ADOBE AUDITION 151 User Guide Gain This is where you enter the exact value for the gain measured in dB being used in the chosen band Graph Actual Response Because this is an FIR filter the response may not actually match the desired equalization curve at lower accuracy levels Press this button to see the actual response of the equalizer rendered in the window above the band sliders Accuracy Entering higher accuracy levels longer FIR filters in this text box will give better frequency response in the lower ranges Note Higher values require more processing time but you can use lower accuracy levels if you only want to equalize higher frequencies Q If you are equalizing very low frequencies you should probably raise the accuracy Values between 500 and 5000 points work well Range This field defines the range of the slider controls Enter any value between 4dB and 180dB As a comparison standard hardware equalizers usually have a range of 30dB to 48dB Master Gain After the EQ settings have been adjusted the overall volume level might be too loud or too soft You can compensate for this by entering an overall master gain to be applied to the resulting audio The default value of 0dB represents no master gain adjustment Presets Adobe Audition comes with several Graphic Equalizer presets More
360. k audio in Multitrack View check this box Correct for Drift in Recordings If this box is checked Adobe Audition will look at the sync between the master audio playback device generally the first Out device listed in the session the one on Track 1 and the record device of the waveform being recorded If the true sample rates on the cards differ enough that the recording would have drifted out of sync with the original if both were played back at exactly the same sample rate then the recording is corrected by resampling to make it the proper length This option only works with new record tracks not with recording on top of existing waveforms or punch ins Note On sound cards that support sample accurate devices i e synchronized device starting and all devices keyed off of the same clock you don t need to check this box This option allows for some measure of near sample accurate synchronization across different sound cards or when using with a single sound card that doesn t use the same clock for playback and recording such as the Sound Blaster Live card Correct for Start Sync in Recordings If this box is checked Adobe Audition looks at the exact true time that the record device started and compares that with the time the master playback device started If different the recorded block s position is adjusted so the recording starts in perfect sync with the playback This option only works with new record tracks not with
361. ke clicks static or other noise However if the value is too high above 200 ms short words may be skipped e Find Levels Press this button to scan the waveform or a highlighted section to have Adobe Audition automatically determine a good starting point for signal levels After completing the scan suggested values are automatically placed in the appropriate boxes If these values aren t doing the job say words or phrases are being chopped off try lowering the signal level values Increase the signal level values if not enough silence is being removed ADOBE AUDITION 69 User Guide e Trim Digital Silence This command removes pure digital silence from the beginning and ending of a file However if you highlight the middle of a waveform Trim Digital Silence will act as a normal Trim command trimming out every thing else in addition to any digital silence in the highlighted region at the endpoints Snapping In this case the term snapping means that whenever a waveform cursor is placed within a certain distance of a defined location point timeline or cue location point that cursor automatically jumps or snaps to that precise boundary point Keep in mind that snapping only occurs if youre close to the ruler tick Four options are available all accessed from the Edit gt Snapping submenu Highlight and check one to select it Only one of the Snap to Ruler commands can be checked at a time Snap to
362. known as ripping Keep in mind that you must have a CD ROM drive that supports audio extraction in order to use this feature Luckily most newer CD ROM drives do While CD tracks may be ripped using Adobe Audition s File gt Open dialog The Extract Audio From CD function gives you more control over the extraction procedure such as the abilities to rip partial tracks and specify the ripping process used Extract Audio From CD x Device fH EIDE CD ROM 48 amp AKU vam gt m Interface Options C Generic Win32 ASPI SPTI m ASPI SPTI Options Read Method MMC ReadCD gt CD Speed MaxSpeed gt Buffer Size 16 KB 7 J Swap Byte Order I Swap Channels I Spin Up Before Extraction The Extract Audio From CD dialog Help Source Selection Track Min Sec Frame Track 01 0 Track 02 0 28 Track 03 03 45 28 Track 04 03 29 55 Track 05 04 04 00 Track 06 03 58 52 Track 07 04 18 68 x C Time Min Sec Frame Range Start 0 00 00 Length 0 00 00 m Error Correction CDDA Accurate No Correction Jitter Corection Preview Close cme Presets Here are the major components of the Extract Audio From CD dialog ADOBE AUDITION User Guide Device If your system has more than one CD ROM drive use this drop down list to select the drive you want to use for extraction Source Selection
363. l during playback and recording 215 Average Left amp Right 119 Average RMS Power 201 B Background mixing 8 Background Mixing Priority 225 Band Limiting tab 107 Band Pass 145 Bars and Beats 86 Base Frequency 193 Basic cue 81 Batch button 83 Batch File Convert 53 Batch Process 212 Batch Processing 209 Batch Run 210 Beat cue 81 Beat Splice 93 Beat Splices 260 Beats per Bar 87 Beats per Minute 87 Beats Bar 299 Beats bar 284 297 Beats minute 297 Binaural Auto Panner 100 Bit Rate 293 Block Color 306 Block Color option 264 Block Context Menu 258 Block Edge Dragging enable 283 Blocks about 241 368 INDEX adjusting hue 262 adjusting panning of 261 adjusting volume of 260 destroy 268 312 editing 241 moving 241 remove 312 removing 268 select all 312 Boost 137 Boost Input by 111 Boundaries adjust 311 Break Time 190 Brown noise 191 Buffer Size 50 Bus 293 Bus button 286 Bus faders 290 Bus Mixer tab 289 Bus Properties 287 Busses 286 about 269 assigning tracks to 269 Cc Calculate Normalization Values 99 Cancel Last Operation 58 Category 352 Category field 91 CCITT 30 CCITT mu Law 34 CCITT standard G 711 29 CD Speed 50 CEL 31 Center Channel Level slider 333 Change Cue Type 82 Change Destination Format 54 Channel Mixer 102 Channel order 338 Channels 45 75 76 Check For Hidden Blocks 314 Choose Files tab 70 Chorus characteristics 117 Chorus effect 116 lear Clip Indicators 24 lick P
364. l to the immediate right of the Max View control closes the active tab Note You won t be able to see the Track tabs if the Max View window display option is selected Max View When you press this control which looks like a small arrow pointing upward you switch to Max View All of the tabs disappear and the controls for the selected track expand to fill the Track Properties window To return to the Track Tabs view press the Restore control the small arrow pointing downward Volume Slider This vertical slider adjusts the track s volume measured in dB Dragging the slider up or clicking on the arrow at the top of the slider increases the track s volume while moving it downward or clicking on the arrow under neath the slider reduces the volume accordingly You may also specify the track s volume by directly entering the desired dB value in the text box above the Volume Slider Panning Slider This horizontal slider adjusts the track s pan measured in percentage Moving the slider to the left or clicking on the arrow at the left of the slider reduces the volume of the right channel while dragging it to the right or clicking on the arrow to the right of the slider decreases the left channel s volume You can also set the track s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider Negative numbers such as 100 denote a left pan while positive numbers like
365. lA OMB Temp Dir File name background ses Cox Files of type Multitrack Session ses 7 Cancel Options Help Save Multitrack Session As dialog Here are components of the Save Multitrack Session As dialog Recent Folders The most recently used folders are displayed here in a drop down menu This allows quick access to frequently used folders Lookin Use this drop down list to navigate through all available drives and folders File name Here s where you specify the name of the session Adobe Audition will automatically add the ses to the filename when you save it Files of type Use this control to filter the display of files in the current folder The default is ses files As you d expect selecting the All files listing displays all files in the current folder Save copies of all associated files If this item is checked copies of all files used in the session including waveforms will be saved in the same folder as the ses file Options When the Save copies of all associated files box is checked the Options button is enabled Pressing it brings up the Session Save Copies of all files Options dialog ADOBE AUDITION User Guide Session Save Copies of all files Options Session Save Copies of all files Options E x IV Save all copies in this format MPEG 3 FhG mp3 x Format Properties I Convert Sample Rate EME x Conversion Properties
366. laid each block e To group blocks together select the members of the group by holding your Ctrl key down and left clicking each desired block Then choose Group Blocks from the Edit menu or from the right click menu e To ungroup blocks click on any member of that group to select it and again choose Group Blocks from the Edit menu or from the right click menu This will remove the checkmark from the menu item Grouped blocks will move together when selected and repositioned Other wave operations such as Mute or Lock in Time will also affect all blocks in a group To select the color to use for a particular block group right click on any member of the group and choose Group Color Group Color This command invokes Adobe Audition s Group Color dialog which allows you to change the color of the current group of blocks This function is documented in the Navigating the Multitrack View Screen chapter Block Color This command invokes Adobe Audition s Block Color dialog which allows you to change the color of the current block This function is documented in the Navigating the Multitrack View Screen chapter Punch In Punch In is a recording technique used to replace a section perhaps a mistake of some kind in an existing track segment Replacing this segment usually entails starting and stopping record at exact moments in order to retain the surrounding audio while material in between these points is replaced with h
367. latency playback Cancel Help Multichannel Preview Options dialog box Some sound cards that offer 5 1 playback such as the Creative Labs Audigy will display only one device driver listed and this is the device that should be selected since the sound card s driver will route the 6 channels of audio to the correct speakers 338 CHAPTER 20 Multichannel Encoder Some professional sound cards such as the M Audio Delta 1010 1010LT or 410 Echo Layla24 Frontier Design Dakota and EgoSys WaMi units offer a single Multichannel Device driver in addition to several individual stereo drivers For these cards that offer this special interleaved multichannel driver you should select this from the list For example for the M Audio Delta 1010LT sound card that offers this type of driver it shows up as M Audio 1010LT Multichannel 16 bit These driver types will accept the 6 audio input from Adobe Audition and automatically route it to the standard Microsoft 5 1 channel configuration listed below Channel Order When connecting your speakers to the analog outputs of a Multichannel sound card that offers the required interleaved multichannel driver you should ensure that your speakers are connected in this order to correctly reproduce the 5 1 surround preview e Out 1 Front Left speaker FL e Out 2 Front Right speaker FR e Out 3 Center speaker C e Out 4 LFE Sub Woofer speaker LFE e Out
368. layed from the current cursor position until the end point of the file or session This is the default behavior for this button e Play Entire File When this option is checkmarked Adobe Audition will play the entire file or session from beginning to end regardless of the cursor position or view Play Looped This button plays the contents of the currently visible waveform or session window in a continuous looping fashion Right click on this button to change its behavior Loop View or Selection is the default option it will loop just the area Q of the waveform or session that s currently viewed or highlighted Checkmark Loop Entire or Selection to have Adobe Audition loop the entire waveform or session or just the highlighted portion regardless of how much is being viewed Go to Beginning Press this button to place the playback cursor at the beginning of the waveform or session Rewind Click on this button to shuttle the playbar cursor backwards in time This function supports scrubbing This means that on some sound cards the audio file will be played back at a lower volume as it shuttles over the waveform or session Right clicking on the Rewind button allows you to set the rate at which the cursor will move Fast Forward Pressing this button shuttles the playbar cursor forward in time This function supports scrubbing This means that on some sound cards the audio file will be played back at a lower volume as it shuttles over t
369. le the fact that cement reflects high frequencies better than low ones isn t accounted for but great effects can still be achieved and they re much more realistic than those of basic Echo functions The effect of speaker placement enhancing or canceling certain frequencies though is still accurate A damping factor of 1 0 is the highest simulating total reflectivity while a factor of 0 0 is the lowest which represents complete sound absorption no reflecting surface To give more control over the environment apply damping factors to any of the four walls floor and ceiling If a wall has a damping factor of 1 0 it is totally reflective rather like cement If a wall has a very low damping factor like 0 05 it will absorb most of the sound like carpeting heavy draperies or sound proofing panels You can also lower the damping factor of some of the walls to simulate other objects in the room which effectively absorb some of the audio Signal and Microphone Placement feet e Source Signal Enter the desired values of the Source Signal your waveform or selection measured in feet in the Dx Distance from Left Wall Dx from Back Wall and Dx Above Floor fields When using a stereo waveform you can have different values for both the left and right channels The signal will then simulate a single non directional point source meaning that the sound will radiate outwards in all directions The distance between the source and the wal
370. le menu Note More information about the Free Up Space in Temp Files dialog can be found in the File Menu Edit View chapter 279 280 CHAPTER 14 File Menu Multitrack View MRU List The Most Recently Used list displays the last nine session files opened in Adobe Audition You can quickly open any of these files providing they haven t been deleted or moved by selecting it from the list with your mouse Or type the number that s associated with the desired Session Exit As youd expect this command closes Adobe Audition If the session has been modified or are any edited audio files that are open that haven t been saved to disk you ll be asked if you want to save them All temporary files that Adobe Audition has created are deleted as well ADOBE AUDITION User Guide 281 Chapter 15 View Menu Multitrack View T he View Menu displays options that relate to change the display or viewable area when in the Multitrack View mode Edit Waveform View This command switches to Adobe Audition s Edit View mode where individual waveforms may be modified Pressing the leftmost button in the Multitrack View File toolbar takes you to Edit View mode The face of the View button Q represents the target View that the system will jump to when pressed For example when yow re working in Multitrack View this button s appearance changes to let you know that if you push the button you ll go to the Edit View Sho
371. lection the end points drawn together when the highlighted selection is removed are at different amplitudes which often results in an audible pop or click You might want to use this feature when you wish to delete a portion of a waveform or insert a portion from the middle Q of the waveform To use Zero Crossings 1 Select the portion you want to delete or position the cursor where you want to insert 2 Choose Edit gt Zero Crossings and the appropriate submenu entry e Adjust Selection Inward Adjusts both region boundaries inward to the next available zero crossing e Adjust Selection Outward Adjusts both region boundaries outward to the next available zero crossing e Adjust Left Side to Left Adjusts the left region boundary leftward to the next available zero crossing e Adjust Left Side to Right Adjusts the left region boundary rightward to the next available zero crossing e Adjust Right Side to Left Adjusts the right region boundary leftward to the next available zero crossing e Adjust Right Side to Right Adjusts the right region boundary rightward to the next available zero crossing Find Beats Use this function to have Adobe Audition locate the boundaries that make up musical beats in an existing music audio file This lets you easily find the starting and ending loop points when you want to construct drum loops and similar musical phrases To use Find Beats 1 Place the play cursor in the Wave Display to the left of your t
372. ler Session Display Horizontal Portion Bar Use the Horizontal Portion Bar which by default is at the top of the Session Display to scroll forwards and backwards in time throughout a session It can also be used to zoom in and out horizontally in the Session Display e Left click and drag the little hand over the Horizontal Portion Bar s handle to scroll time wise through the session e Left click and drag the magnifying glass which appears when your mouse passes over the edge of the Horizontal Portion Bar s handle to change the viewable range of the Session Display Moving the magnifying glass to the left zooms in while moving it to the right zooms out ADOBE AUDITION 249 User Guide e Right click anywhere on the Horizontal Portion Bar to call up a menu with three zooming options Zoom In Zoom Out and Zoom Full The menu also has options for moving the Horizontal Portion Bar to the bottom of the Session Display as well as returning it to its default position at the top of the Session Display Horizontal Ruler The Horizontal Ruler runs along the bottom of the Session Display and acts as a timeline It measures time in the same format specified in View gt Display Time Format menu which is hours minutes and seconds by default e Left click on the Horizontal Ruler and drag the little hand over the ruler to scroll time wise through the session e Right click on the Horizontal Ruler and drag to select an
373. ler 7 value directly in case you have a MIDI file whose controller 7 value is too low or high Mix Down to File This function creates a two track stereo mix unless a mono option is selected of all or selected tracks and places the resulting waveform into Adobe Audition s Edit View The contents of all or selected enabled unmuted tracks are combined with track and waveform properties such as volume and pan affecting the way the final mix sounds Session elements such as looping images and envelopes are all reflected in the mixed waveform All Waves Selecting this option will mix all unmuted waveforms in the session and place the resulting stereo waveform in the Edit View Selected Waves Choose this option to mix all highlighted waveforms in the session and put the resulting stereo waveform in the Edit View All Waves Mono Selecting this option will mix all unmuted waveforms in the session to a mono waveform which will be placed in the Edit View Selected Waves Mono Choose this option to mix all highlighted waveforms in the session to a mono waveform which will be opened in the Edit View Insert a submix back into your session using the File Cue List in the Multitrack View s Insert menu The original tracks Q that were submixed can then be muted or removed from the session Mix Down to Empty Track N Bounce This command creates a two track stereo or mono mix of all or selected tracks and places the resulting waveform into
374. listed waveform ADOBE AUDITION User Guide Step 2 Analyze selected files for loudness information Filename EqLoud Loud Max Avg Clip Beethoven s Symphony No 9 Scherzo wma Close Help Percent over clipping when normalizing to the average of 0 dB Scan for Statistical Information Reset The Analyze Loudness Tab of the Group Waveform Normalization Dialog 1 Choose Files 2 Analyze Loudness These statistics are shown EQ Loud This is the final loudness value with an equal loudness equalization curve that takes into account frequencies the human ear is more or less sensitive to If Use Equal Loudness Curve is chosen in the final Normalize step then this is the value that will be used to determine how much to amplify the audio to normalize it Loud This is the final loudness value without equal loudness equalization This value will be used to determine how much to amplify the audio to normalize it if the Use Equal Loudness Curve is not checked in the final step Max This is the maximum RMS amplitude found This value is based on a full scale sine wave being 0dB and uses the window width given in the Advanced section of the Normalize tab Avg This is the total average RMS of the entire file This value isn t used to normalize with because files can have more interesting dynamics that need to be accounted for Clip This is the percentage of the waveform that would be clipped when normaliz
375. ll File Save As A File Save Copy As File Save Selection File Quick Save File Flush Virtual File Exit Ctri 0 Edit Copy 1 Ctrl C o Edit Copy 2 Ctrl Insert pan Edit Win Clip Copy Cancel Edit Cut 1 Chex zl ee Restore Defaults Help The Shortcuts Keyboard amp MIDI Triggers dialog The following list details the default shortcut commands that can be executed from your computer s keyboard You don t however have to use the hotkey combinations we ve created Nearly all of these shortcuts as well as commands that can be given using the keys on a standard MIDI keyboard instrument may be changed using the dialog that appears when you access the Options gt Shortcuts Keyboard amp MIDI Triggers command documented later in this chapter Plus there are dozens of other Adobe Audition functions that can be given keyboard shortcuts Go to Options gt Shortcuts Keyboard amp MIDI Triggers and assign one key shortcuts to the effects and functions you Q use most For example you might want to have the N key assigned to the Normalize effect the Q key set to activate the Quick Filter dialog and the R key programmed to bring up the Noise Reduction window You ll be surprised how much quicker editing can be with one key shortcuts 346 Keyboard Shortcuts File Menu Shortcuts Ctrl N Create a new waveform or session Ctrl O Open a new waveform or session Ctrl w Close a waveform or s
376. ll Tracks Check this box to use the selected Wave device bus or MIDI device for all tracks in your session e Properties The button brings up the property dialog for the selected Wave device bus or MIDI device Recording Devices Select this command to display Adobe Audition s Recording Devices window which lists all available waveform recording devices in your system Choose the device you wish to use for this track 254 CHAPTER 13 Navigating the Multitrack View Wave Left Channel Right Channel Stereo 16 bit Record Devices Dialog e Channel Selection You can specify if the track will record the left channel the right channel or in stereo from the recording device e Bit depth Selection Decide here if you want to record the track in the 16 bit or 32 bit realm e Same for All Tracks Check this box if you wish these settings to be the default for all 128 of Adobe Audition s tracks e Properties Pressing this button brings up Adobe Audition s Device Ordering Preference screen Track Equalizer Activate this item to display Adobe Audition s Track Equalizers window which gives you more control over a track s equalization than the EQ tab in the Track Controls Frequency sliders The expanded Track Equalizers window with Track Tabs displayed The Track EQ window is dockable which means you can reposition it at one of several places in the Adobe Audition interface Or you may detach it and have it
377. locks green will become bright green when selected Select All Blocks in Track N This command selects all blocks in the currently selected track the last one you clicked on most of the time Selected blocks appear brighter in color than their non selected counterparts If youre using the default Adobe Audition color scheme record enabled blocks red will become bright red when selected while regular unmuted blocks green will become bright green when selected ADOBE AUDITION 313 User Guide Insert Delete Time Use Insert Delete Time to introduce an amount of silence into the session at the cursor location or to cut the selected area out of the session Insert Delete Time G Inset decimal ime Delete Selected Time Help Cancel All blocks to the right of the cursor will be moved to the right ix Insert Delete Time dialog Insert This option will shift all material blocks or parts of blocks to the right of the cursor position to a location after the time amount specified in the editable text field Blocks will be split if necessary and the specified amount of silence inserted Delete Selected Time If this option is chosen the highlighted area will be removed with all blocks to the right of the selected region shifted to the left Group Waveform Normalize Group Waveform Normalize allows you to normalize the volume of multiple open waveforms using a three screen batch process When you normalize a waveform
378. look like balls around the graph to adjust the EQ curve If the Track EQ window is in expanded view you ll notice that the two sets of sliders move accordingly when the graph s control points are manipulated The left most control point initially represents the EQ curve s low frequency while the middle and right most control points correspond to the EQ curves middle and high frequencies respectively QValues The low middle and high frequency Q values of the equalization curve are displayed in these boxes Q is the sharpness of the equalization circuit s peak response If a Q box isn t grayed out you can adjust the Q number by left clicking on the box and dragging Dragging to the right increases the Q number while dragging to the left reduces it Band Buttons By default only the Mid Q in the Track EQ window is active but by pushing one or both Band buttons you can activate the Low Q and or Hi Q settings This in effect gives you the control of a parametric equalizer Frequency Sliders Use the vertical Lo Mid and Hi Frequency Sliders to adjust the EQ curve s low middle and high frequencies respectively Drag a slider to the right or click on the arrow on the right of the slider to increase the slider s frequency while moving it to the left or clicking on the arrow to the left of the slider reduces the frequency You may also specify the slider s frequency by directly entering the desired Hz value in the text box
379. lopes show 282 FX No FX buttons 288 G G 721 ADPCM 34 General tab 200 214 296 Generate Tones 192 Generic Win32 50 Genre field 90 92 Get 32 bit Audio using 231 Getting Help 1 Go to Beginning button 23 Go To Cue List 82 Go to End button 23 Graph Controls 21 Graphic Equalizer 150 Graphic Phase Shifter 151 Group Blocks 263 306 Group By Category 19 Group Color 263 306 Group Real Time Effects 19 Group Waveform Normalize 69 313 H Hard Limiting 110 Help tab 205 High Frequency Absorption Time 140 High Pass 145 159 Highlight after Paste 216 Hiss Reduction 167 Hold buttons 195 Horizontal Portion Bar 39 248 Horizontal Ruler 40 249 Hue 303 l IFF 30 Images about 240 Independent Channels 191 Index cue 81 Initial Amplification 99 Input Button 245 Input Gain 107 Insert Cue s 84 Insert in Multitrack 64 Insert Into Multitrack 17 42 Insert menu 250 Insert Play List in Multitrack 64 Insert Delete Time 257 313 Inserting audio files 242 Interface Options 50 Interpret 32 bit PCM wav files as 16 8 float 222 Intro Time field 91 Inverse 192 Invert 97 K Key 93 284 Key for Voiced Loops 296 Key Words field 90 Keyboard Modifiers option 28 Keyboard Shortcuts dialog 351 L L R Cut log 226 L R Cut Log 297 Lag Time 228 Lead Time 228 Left Right buttons 201 Level Meters 23 Level Meters show 85 294 Limit Continuous Silence to 66 Limit Playback to 229 Linear Energy Plot
380. ls affects which frequencies are enhanced and is crucial to the overall ambient effect Use the Dx Distance values in conjunction with Room Size values to determine exact 3D placement If you use a values Q greater than the dimensions of the room a Dx Above Floor of 21 feet in a room with a Height of 20 feet for example Adobe Audition will use the greatest possible value 20 feet in this case e Microphone Placement Enter the desired virtual microphone values measured in feet in the Dx Distance from Left Wall Dx from Back Wall and Dx Above Floor fields Depending on whether the waveform is mono or stereo up to two virtual mike pickups can be used Each microphone is routed to its own respective channel of a stereo audio file The resulting echoes are exactly what the microphone s would pick up in the room at the specified location Place the virtual microphones in a stereo setting one foot apart to simulate human ears The placement of and distance between the mikes gives the brain cues about the directions of each echo and the size of the room Try listening with headphones to virtual microphones that have been placed far apart this gives a very large aural or spacey feeling to the sound Note Make sure you always place the virtual microphone s sufficiently far away from the source If the microphone and source are too close together you will just hear the source and no echoes This is analogous to placing your ear right ne
381. ltiple audio sources or tracks together for output as a single source Output is generally in the form of a stereo pair of channels a right and a left though mixes may be directed to more than two channels for output as in drums to one set of outputs and everything else to another pair of outputs These types of mixes are often referred to as submixes ADOBE AUDITION 361 User Guide Mix Gauge The Mix Gauge is found beneath the Track Console in the Multitrack View It s an indicator of the amount of background mixing that Adobe Audition has completed Each time something changes in a session that alters the way it will play back this bar will empty and fill back up as the mix is re processed The further this bar progresses to the right the more complete the mix of your session The bar becomes a bright color when fully mixed You don t need to wait for the Mix Gauge to completely fill up before playing the session Mono Mono derived from Monophonic means that there s only a single sound source or the signal came from a single sound source MPEG A set of audio and video compression schemes created by the Motion Picture Experts Group MP3 MPEG Layer 3 A subset of the MPEG standard invented by the Fraunhofer institute that has become very popular due to the very high compression ratios 10 to 1 or better with little audible loss Adobe Audition has MP3 support built in so there s no need to purchase an MP3 plug in
382. ltitrack View Adobe Audition offers two major workspaces Edit View and Multitrack View While in Edit View Adobe Audition can be thought of as being a single waveform editor that can be used to record edit and process mono and stereo waveforms Audio files can be saved to disk including CDs or played back through any sound card that has been installed within your computer 11 12 CHAPTER 2 Looking at the Work Area GZ WXLY Jingle 01 wav File Edit View Effects Generate Analyze Favorites Options Window Help enam PPI mesme 30 27 24 21 AS AS 9 L 6 5dB 0 00 00 03 44100 16 bit Stereo 664K 6 10 GB free Edit View with Organizer Window Active On the other hand Multitrack View is where Adobe Audition allows you to record play and mix multiple tracks of audio in a virtual 128 track recording studio Real time effects can be applied relative track volume and stereo placement may be adjusted and audio can be played back through single or multiple sound cards ADOBE AUDITION 13 User Guide Zi background ses Eile Edit View Insert Effects Options Help i SESS SReRS Sea assaaee 36 3 30W A 24 A 8 i5 42 EJ E 6 5dB 0 00 00 03 44100 16 bit Stereo 11 62MB 6 10 GB free Multitrack View with Organizer Window Active Switching from Edit View to Multitrack View There are several ways to switch from Edit View to Multitrack View Here are the most popular e Select Multitrack View from Ad
383. ly documented in the View Menu Edit View chapter 294 CHAPTER 15 View Menu Multitrack View Show Transport Buttons Check this item to display Adobe Audition s Transport Buttons which are used to shuttle the active waveform or session Note More information on the Transport Buttons can be found in the Looking at the Work Area chapter Show Zoom Buttons Select this item to display Adobe Audition s Zoom Buttons The Zoom Buttons window is a dockable window allowing you to reposition it at one of several places in the Adobe Audition interface Note More information on the Zoom Buttons can be found in the Looking at the Work Area chapter Show Time Window Check this item to show Adobe Audition s Time window This window displays the current position of the playback cursor The default display value is mm ss ddd minutes seconds thousandths of a second but this can easily be changed by right clicking on the Time window and choosing another option such as Compact Disc Samples Bars and Beats or one of several SMPTE values Note More information on the Time window can be found in the Looking at the Work Area chapter Show Sel View Controls When checked the Sel View Controls window is displayed Sel is an abbreviation for Selection It shows the beginning and ending points as well as the total length of both the selection and the section of the session that s currently viewed Both t
384. m Cees i E E E E i Eee BEEM Eee Block Color Dialog Punch In When a particularly difficult passage is being recorded it s not uncommon for a note or words to be missed or totally screwed up No big deal You can either stop and pick up from before the mishap Or you can continue on as though nothing had happened and record over the mishap at a later time this process is known as a punch in Punch In is a recording technique used to replace a section perhaps a mistake of some kind in an existing track segment Replacing this segment usually entails starting and stopping record at exact moments in order to retain the surrounding audio while material in between these points is replaced with hopefully a better take Adobe Audition allows for multiple takes when Punching In you can continually record over the original material and afterward choose between the best performance or return to the original data Punch In will work on one or more waveforms at a time To use Punch In e Highlight the area of the waveform block or blocks you would like to Punch into For an exact selection you can switch back to Adobe Audition s Edit View and use the Find Beats Zero Crossings and Snapping functions to make your selection and then switch back to Multitrack View e Choose Punch In from the Edit menu or from the menu that appears when you right click on the waveform block This will enable the selection for record an
385. m gt l T Mute T Lock in Time T Lock for Play Only Wave Block Properties Dialog 261 262 CHAPTER 13 Navigating the Multitrack View e Volume Use this vertical slider to adjust the wave block s amplitude You can also directly specify a dB value in the text box above the slider e Pan This horizontal slider is used to pan the wave block to the left or right channels of your stereo mix You may also directly designate the block s pan value by entering it into the box to the right of the slider A value of 100 is a hard left pan while 100 means the block is panned all the way to the right channel e Filename Path The name of the wave block which is initially its filename minus the extension and the path of the wave block are shown in these two fields The top field is editable so you can change how the wave block s name is shown in the session However it will actually change the filename when that block is saved back out e Time Offset This field shows how far the beginning of the wave block is from the starting point of your session You can edit this value directly by highlighting the numbers in the field and typing over them thereby moving the wave block forward or backward through the track e Hue Adjust this slider to change the color of the wave block You can also enter a hue value from 0 to 255 directly in the field over the Hue slider e Mute When this box is checked the block s sound is turned
386. m or Low Frame Size the number of splices per beat and the percentage of Frame Overlapping Resample will cause Adobe Audition to resample the loop to match the session s tempo and as such the pitch will be affected High Medium and Low Quality options are available 259 260 CHAPTER 13 Navigating the Multitrack View e The Beat Splice option actually tries to cut up the file at the beats to loop the file that way This only works on loops that have very sharp short duration sounds like drums If the waveform already has beat markers you may elect to use them Otherwise the Auto Find beats option will be selected If the default values of 10dB and 9 milliseconds aren t satisfactory you can change them in the fields provided e Transpose Pitch If you want to transpose pitch of the looped block enter the number of half steps in this field Negative and positive numbers are both valid where positive numbers raise the pitch by half steps and negative numbers lower the pitch e Adjust ALL loop enabled blocks that use this wave Check this box to globally change the settings for all blocks that reference the same waveform That is if you have drums wav inserted into the Multitrack View four times and you modify the loop properties on one of its blocks the other three instances of drum wav in the session will be adjusted as well Allow Multiple Takes With this option enabled a Take History is preserved for the selected waveform
387. mal volume if an extremely loud peak was encountered Generally around 100 ms the default works very well and will preserve very low bass frequencies Note If this value is too large audio may just stay very quiet and not resume normal levels for a while Link Left amp Right If checked both channels vary in loudness together This preserves the stereo image of the source To have the left and right channels vary independently uncheck this option Gather Statistics Now Press this button to update the Clipping Statistics display The Clipping Statistics fields show what percentage of the audio would clip if limiting were not performed If you change any of the input parameters you ll probably want to click this button 111 112 CHAPTER 8 Effects Menu Edit View Preview Press the Preview button to audition the selected hard limiting adjustment before you apply it to the waveform The selection is played over and over looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear changes as the selection is looped Check the Bypass box to hear the waveform without any changes in hard limiting for a quick before and after comparison Normalize This command brings up the Normalize dialog which enables you to set a desired peak level to which you want a file or selection raised When set to 100 or Odb normalization allows you to achieve the greates
388. mark off time on the horizontal x axis and amplitude on the vertical y axis e Show Center Lines Check this box to display the center lines in Waveform View uncheck the box to hide them The center lines represent zero amplitude of the waveform s right and left channels e Show Boundary Lines Check this box to display the boundary lines in Waveform View uncheck the box to hide them Boundary lines are the horizontal lines that visually indicate where the waveform s amplitude approaches or exceeds the clipping level The value in the Display Boundary Lines at box specifies at which amplitude youd like the boundary lines to appear Peak Files Adobe Audition s peak pk files store information about how to display wav files and can make file loading almost instantaneous by greatly reducing the time it takes to draw the waveform especially with larger files 221 222 CHAPTER 12 Options Menu Edit View e Peaks Cache This value determines the number of samples per block to be used when storing peak files Larger values will reduce the RAM requirement for large files at the expense of slightly slower drawing at some zoom levels If RAM is an issue on your system and you re working with very large files several hundred megabytes or more in size you should consider increasing the Peaks Cache to 1024 or even 1536 or 2048 e Save Peak Cache Files If this option is enabled all wav files will have peak files saved with them in the sa
389. mat for the ruler This can be done by right clicking on the ruler and selecting Display Time Format Then selecting any format prefixed with SMPTE SMPTE 30 FPS for example Note The SMPTE code that Adobe Audition generates must be output through a MIDI port To configure the MIDI port for your system go to Options gt Device Properties to bring up the devices window On the MIDI Out tab you ll see a SMPTE Output drop down list box Adobe Audition will output the SMPTE time code to whichever device is selected in this box SMPTE Start Offset This command brings up the General tab of Adobe Audition s Session Properties window where you can enter a time offset to use when synchronizing to SMPTE time code This is the time location that Adobe Audition will wait for before playback begins Locations can be entered in either of the two formats listed to the right of the SMPTE Start Time Offset text box ADOBE AUDITION 327 User Guide Note Before attempting to enable SMPTE sync you ll need to choose a device for MIDI In that is recognized by Windows such as a soundcard s built in MIDI interface a MIDI interface card or other hardware device options To do this go to Options gt Device Properties to bring up the devices window Set MIDI In Sync Trigger to the input to be used for SMPTE sync commonly YourDevice Sync Sample Accurate Sync Some sound cards are capable of sending sample accurate sync timing informati
390. me folder with the extension pk following the original audio filename Uncheck this box if you don t want Adobe Audition to save peak files on your hard drive e Rebuild Wave Display Now Press this button to have Adobe Audition rescan the current file for sample amplitudes and redraw the waveform Data Tab The controls in this area of the Settings dialog have to do with the way Adobe Audition handles audio data Settings x General System Colors Display Data Multitrack SMPTE 7 Auto convert all data to 32 bit upon opening IV Interpret 32 bit PCM wav files as 16 9 float compatibility with old Cool Edit format Dither Transform Results increases dynamic range M Use Symmetric Dithering IV Smooth Delete and Cut boundaries IV Smooth all edit boundaries by crossfading 5 ms Auto conyert settings for Paste Downsampling quality level feo IV Pre filter Upsampling quality level fi 20 Postilter OK I Allow for partially processed data after cancelling effect Help Dither amount for saving 32 bit data to 16 bit files 1 bits Cancel The Data Tab of the Settings Dialog Auto convert all data to 32 bit upon opening If this item is checked all 8 bit and 16 bit data is automatically converted to 32 bit when a file is loaded and all subsequent operations will keep the data in the 32 bit realm Interpret 32 bit PCM wav files as 16 8 float compatibility with old Cool Edit format Checking this option cau
391. me overwritten e delete the source file s if the conversion process was successful e remove filenames from the source list once their waveforms have been successfully converted ADOBE AUDITION User Guide Batch File Convert x Step 4 Choose destination folder and file renaming scheme C Same as file s source folder Other folder OAM y Music Browse I Overwrite existing files I Delete source file if converted OK I Remove from source list if converted OK Output Filename Template wav Here are some examples of filename templates for the file Test wav Template New Name 2 mp3 Test2 mp3 NEW_ NEW_Test wav Run Batch 77123 Tes123 wav Fir Batch backup Test way backup 1 Files 2 Resample 3 New Format 4 Destination The Destination Screen of the Batch File Convert Dialog Close Help Decide how you want the files renamed by modifying the text in the Output Filename Template field In most cases the default renaming method is fine the first part of the filename remains the same but the extension is changed However several example templates are shown as guides in case you wish to be more creative in your renaming After the desired parameters have been set in Batch File Convert s four tabbed screens press the Run Batch button and Adobe Audition automatically processes each file Flush Virtual File Adobe Audition opens waveforms and uses th
392. me systems also employ a boost of 10 dB for the LFE channel automatically assuming your LFE content will be approximately this much lower in power than the main channels Therefore these components should be accounted for in your mix before you deliver your master files to the recipient It is best to inquire with the recipient about all such requirements to ensure that the audience will hear your project the same as you are hearing it on your monitoring system e Fold Down to Stereo options If the 6 channel WMA file is played back on a non Windows XP system or on a system that does not have a 5 1 playback setup Windows Media Player 9 will automatically perform a fold down or down mix of the 6 channel playback to a stereo playback The Windows Media Player 9 does this by accessing channel attenuation instructions that Adobe Audition s WMA encoder writes into the file These attenuation parameters allow you 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 ADOBE AUDITION User Guide Fold down to stereo Surround channel 3 dB Center channel 3 dB Sub LFE channel 12 dB Cancel Fold down to stereo dialog box To access the Fold down to stereo dialog click on the Fold down to stereo settings button within the Multichannel Export Options dialog The three numerical fields will default to
393. mmand is different than Track Muting which occurs when you press the Mute button in the Track Console area which disables all waveforms within a track Muted blocks are ignored during playback and mixdowns and are displayed as grayed out Lock in Time Lock In Time locks selected waveforms to their current time location in the multitrack session Locking a waveform is useful when you ve decided upon its position in time and don t want to accidentally move the waveform when right clicking on it Locked waveforms are identified by an overlaid graphic of a circled padlock While a waveform which has been locked can t be moved in time left or right it may be vertically repositioned allowing you to move it between tracks To unlock a waveform simply select it and choose Lock in Time to free it for horizontal movement Lock for Play Only This command disables the ability of a waveform block to be recorded into Even though the track that the playback locked block resides in may be record enabled it has the red R button on the Track Console depressed the marked waveform will not be recorded over This is signified by the waveform block not turning red when the track is record enabled Split The Split command functions similarly to a traditional tape splice it cuts the waveform segmenting it into parts The cut is performed at the current cursor point or selection in this case the selection will be spliced out Once a bl
394. move try Adobe Audition s Hiss Reduction effect instead View Left Right Click to view either the left channel noise profile or the right channel noise profile The amount of noise reduction is always the same for both channels To perform separate levels of reduction on each channel edit the channels individually instead of both channels at once Noise Profile Plot The yellow points in the profile plot represent the amount of noise reduction that will be performed at any particular frequency Move the Noise Reduction Level slider up or down to move the entire yellow region up or down Load Profile Press this button to load any previously saved noise profile You can load any fft file that Adobe Audition has saved 171 172 CHAPTER 8 Effects Menu Edit View Note A noise profile can only be used on a sample of the same type as when saved In other words a 44K stereo 8 bit sample is not compatible with a 22 kHz mono 16 bit profile Bear in mind however that because noise profiles are so specific to the recording environment of the waveform in question even if the sample types are compatible a profile for one type of noise is likely to not produce good results when used for another type of noise Even if the audio samples were recorded with the same microphone if the recording environment is different the type of background noise could be different Save Profile Once the noise level is set you can save the noise profile as an
395. n Any samples above the center line will be placed below the line and those below will come out above the line This function comes in handy when you want to take the difference or subtract one signal from another between two Q samples Lock Left Right When this box is checked both volume sliders are locked so that when one is moved to a certain level the other moves simultaneously to that same level Insert Choose this radio button if you wish to insert waveform data from the active clipboard at the current location or selection replacing any selected data If no selection has been made Adobe Audition inserts clipboard audio at the cursor location moving any existing data to the end of the inserted material Overlap When Overlap is selected the clipboard audio is mixed at the selected volume level with the current waveform If the clipboard audio is longer than the current waveform the current waveform is automatically lengthened to accom modate the pasted audio 63 64 CHAPTER 6 Edit Menu Edit View Replace This option pastes the contents of the active clipboard beginning at the cursor location and replaces the existing material thereafter for the duration of clipboard data For instance pasting 5 seconds of material replaces the first 5 seconds after the cursor with the clipboard s contents Modulate Select this option to modulate the clipboard audio with the current waveform for an interesting effect This is similar
396. n Field This field which by default has Pan 0 in it displays the pan position of the track in dB You can pan the track to the left or right by up to 100 Just left click the field and slide your mouse vertically or horizontally An L in the field designates a left pan an R represents a pan to the right and the number after the letter designates the percentage of the pan Note The Track Pan Field only appears in the Vol area ADOBE AUDITION User Guide Input Button Pressing the Input Button which is labeled Rec 1 by default brings up Adobe Audition s Record Devices dialog which allows you to specify the device from which you are recording The text on the button changes to reflect the input device chosen Note The Input Button is found in both the Vol and Bus areas Lock Button When real time effects are applied to the track using the FX button the Lock button is enabled Pressing it tells Adobe Audition to lock in the effect s and disables the FX button Release the button to unlock the effect s and re enable the FX button Note The Lock Button is found in both the Vol and Bus areas Note When a track is locked what actually happens is that the effect is mixed into the background mix thus removing the real time effect from the CPU load Keep in mind that when a track is locked you cant do anything to the audio in it such as moving a block or changing effects parameters Note While it takes
397. n its own track MIDI from File Use this command to place a MIDI file mid or rmi at the session window s insertion point Only one MIDI file may be inserted at a time but youre welcome to re run this command as many times as desired to insert multiple MIDI files in a session Video from File This command allows you to insert one video file into Adobe Audition s session window A filmstrip graphic that represents the video appears on one track while the audio from the video is placed in the track below If you want to actually see the video s visual data make sure Adobe Audition s Video Window is open View gt Show Video Window Just one video file may be open in Adobe Audition at a time If you try to insert another one you ll be prompted to close the currently open video file Audio from Video File Insert the soundtrack from one or more supported video files to the session window using this command You re limited to inserting audio from just one video file at a time but feel free to re run this command as often as need to insert addition video soundtracks into your session Open Waveform List Up to 10 open waveforms will be listed here for your convenience If you have more than 10 waveforms active filenames of just the last 10 opened are shown 2 File Cue List This command activates Adobe Audition s Insert into Multitrack window This window lists all of the files that are currently open in Edit View If a fil
398. n line up your metronome with a song that s already been created and you re adding more to Any point can be at any time so that you know the metronome beat will be in the right place e Reset 1 1 to Cursor Press this button to set the cursor to the first beat of the first measure e Song Start The exact position stated in milliseconds of the beginning of the song is shown here Metronome Tab Advanced Session Properites i x General Mixing Tempo Metronome Notes I Enable Metronome Output To ir SB Livel Wave Device x Volume 6 dB OK Sound Set OK Signature 3 4 time x Custom Cancel Pattern fi 33 Help The Metronome tab of the Advanced Session Properties window Enable Metronome Keeping perfect time is a cinch with Adobe Audition s built in Metronome Check the Enable Metronome box to hear the ticks of the metronome whenever you play or record something in Adobe Audition s Multi track view The metronome sound effects won t be recorded unless of course you re using a microphone and your computer s speakers are on Uncheck the box to be Metronome free Sound Set Use this drop down list to select from different types of metronome sounds Volume Enter the desired volume of the metronome sounds in this text box The default is 6dB A higher number such as 3dB makes the metronome sounds louder while a lower number like 10dB decreases the metronome volume Signature
399. n percent Positive values are above the center line zero volts and negative values are below ADOBE AUDITION 201 User Guide Minimum RMS Power This value is the minimum Root Mean Squared amplitude closer to what the ear hears of the waveform that is scanned using a window of the size given below as the RMS Window Width Press the gt button to have the playback cursor jump to the average quietest section of the waveform The Waveform Statistics dialog is automatically closed Maximum RMS Power This value is the maximum Root Mean Squared closer to what the ear hears amplitude of the waveform that is scanned using a window of the size given below as the RMS Window Width Press the gt button to have the playback cursor jump to the average loudest section of the waveform The Waveform Statistics dialog is automatically closed Average RMS Power This figure represents the average power of the entire selection This is a good measure of the overall loudness of the waveform selection Total RMS Power This figure represents the total power of the entire selection given as RMS amplitude Actual Bit Depth The waveform s bit depth or float if it uses the full 32 bit float range is reported here Copy Data to Clipboard Press this button to copy all information displayed in the General tab to the Windows clipboard You can then paste this info into a text editor or any other Windows application that supports pasting of text from t
400. n real time counterparts in Edit view In fact most of the time the control layout is even the same However there are two notable exceptions e The Stretch effect only does pitch shifting in real time as a track effect not tempo stretching e The Dynamic EQ Dynamic Delay and Pan Expand effects have their envelopes directly on the wave blocks instead of having separate controls to draw the envelopes on 273 Chapter 14 File Menu Multitrack View he File menu in the Multitrack View offers functions relating to opening saving and otherwise manipulating session files About Sessions An Adobe Audition session uses session ses files and their specific structure to save all of the information that relates to a current multitrack project This information includes audio file placement mix pan parameters mute solo settings and more All of your multitrack masterpieces are saved to and recalled from disk as a session file Only one session can be active at a time Note Keep in mind that your session files save just the information that relates to a current multitrack project Session files don t contain their associated waveforms It s important to keep your waveforms intact and within their original folder New Session This command creates a new empty session where you record or insert audio into multiple tracks When creating a new session youll be prompted to specify its sample rate Any audio files to be used in
401. n that time period is up the recording is automatically stopped Upon pressing OK Adobe Audition will be placed into record mode either until the Stop control is pressed or the time length has expired Start Recording e Right Away Choose Right Away and Adobe Audition will begin recording as soon as the OK button is pushed 208 CHAPTER 12 Options Menu Edit View e Time Date If you want the recording to begin at a future time for instance to have Adobe Audition capture a radio broadcast at a certain time select the time date option Fill in the starting time and date in the appropriate fields and choose the desired time and date options Upon pressing OK the record button will blink and recording will start when your computer s time reaches the time specified Recording will then continue for the length given until it s stopped manually or when Adobe Audition runs out of available hard disk space Monitor Record Level Checking this option will activate the Level Meters and start monitoring the recording source which is useful for setting levels before recording To quit monitoring press the Stop control or uncheck Monitor Record Level on the Options menu Q Use the F10 key to quickly turn on and off the Level Meters Show Levels on Play and Record This item enables or disables Adobe Audition s Level Meters which are used to visualize audio levels during recording and playback It doesn t however cause th
402. nal To prevent the loss of low frequency sounds use this slider to specify a frequency above that of the sound you wish to keep If the cutoff setting is too high you may not get a realistic image of the room size e If the cutoff setting is too low bass frequency sound may disappear when using small room sizes ADOBE AUDITION 133 User Guide Good settings are generally between 80Hz and 150Hz Set Reverb Based on Early Reflection Room Size Once a room size and dimension are chosen it is advisable to click this button to set the reverb length and attack time to match the current room size This will make for a more convincing listening experience While the reverb length and attack can be adjusted later this provides a starting point for experi mentation Coloration Tab Full Reverb p x General Reverb Early Reflections Coloration Presets Add Del Bottom of the Barrel E m Church E Empty Living Room Ef ERTE Low Sher a _ gt 60 284 Hz 264 dB Mid Band 4 E gt 664 08 He fis ff a A In the Shower 2 High Shelf 4 a gt 6426 He 14 2 aB 500 ms 17 the Shower 2 Mixing Driginal Signal dry 4 ia gt fss x Early Reflections Ki B gt 25 9 Include Direct Close Reverb wet a E gt 118 5 Cancel I Bypass V Combine Source Left and Right Preview Help Full Reverb dialog Coloration tab Amplitude Sliders The three amplitude sliders to
403. nce here s a list of all Adobe Audition dockable windows e Organizer Window e Cue List e Play List e Transport Buttons e Zoom Buttons Time Window e Sel View Controls e Level Meters e Placekeeper e Session Properties e Mixers Window Track EQ Window e Track Properties Load Meter e Video Window Available in Edit View only Available in Multitrack View only Some docked windows may be resized If resizing is possible the docked window will have a single thicker horizontal or vertical bar known as a resize control If your mouse moves over a resize control your mouse cursor takes on the appearance of two lines with two arrows Note Even if the resize control is visible resizing might not be possible due to the other windows that are in the row with the window you re trying to resize ADOBE AUDITION 15 User Guide To select a docked window left click when youre over a handle Notice how the window becomes outlined when selected To move a docked window select it and drag its hollow shape while holding down the left mouse button As you move it around the Adobe Audition interface two things will happen If the outline of a dockable window retains its original dimension releasing the left mouse button will cause the window to materialize as its own standard floating window However if you notice the resize bar of another docked window light up this designates a
404. nce you wish to generate measured in seconds and press the OK button Feel free to use decimals for partial seconds For instance entering 3 in the Silence Time field will generate exactly three tenths of a second of silence Q To silence out a highlighted selection use Effects gt Silence instead DTMF Signals This function generates Dual Tone Multi Frequency DTMF signals a k a touch tones used for dialing telephone numbers over phone lines that are capable of responding to touch tone signals These signals are recommended interna tionally by the International Telegraph and Telephone Consultative Committee as the signals for pushbutton telephones Generate DTMF Signals x _Add _Del Dial String 1 480 941 4327 Usable Characters 1234567890 Habed Tone Time 150 ms Pause Time 400 ms Break Time 80 ms Pause Character i DTME Signals Amplitude 50 MF Signals CCITT R1 Twist 0B C Custom a a eiai a me 770 4 5 6 B Close ZE Ea Cancel 34 0 D Preview Help Generate DTMF Signals dialog Keep in mind that the DTMF signals generated by telephone pushbutton keypads are different from the Multi Frequency MF tones generated by the telephone network to transmit information Adobe Auditions DTMF Signals function can generate MF tones as well 190 CHAPTER 9 Generate Menu Edit View Dial String This is where you enter the phone number for which you want to genera
405. ncorporated by reference Part number 90047223 07 2003 Contents Chapter 1 Chapter 2 Legal Notices GOPYHIGNt snicescaeadenhoks oe a E ii Introduction Getting Help soreer rer orrea E nE En EE EEE E ENNE 1 Registration nisreen A R a e 1 Customer support i wehices o E E O NR 1 Adobe Audition at a Glance Sound Your Best v scccsdatsadwnteintpauideidanascasedeaeidade 3 Work Efficiently a ccasvdiudieaastae cei AE A ANA 4 Uselntegrated TONS sori cased Soe hq N E E esas 5 Key Concepts of Adobe Audition Destructive and Non Destructive Editing eeee eee 7 Real Time Preview ciswsesues Gide EE EE TROAN 8 Multitrack scicsacdseataniasiiacten vate cuts eeaeliaeiaalacied 8 S SSION Files Sei citidwlaseadeisteaddapundaicass adansatnagie daa eagwead eee 9 Working with Premiere Pro and After Effects eee eee 9 Looking at the Work Area Edit View and Multitrack View 0 see eee eee cnet eee 11 Switching from Edit View to Multitrack View 2 eee eee 13 Switching from Multitrack View to Edit View 08 13 Dockable WindOWS cisicveadssiesuwad ceed E a anena NEA 14 PlacekKG Pers sorrnori yerri neee aa a nna Gaiele es arcane 15 Drop down Menus adcidiv dcrsesicas nirai nE A EaR EA 16 TOOIDArS ariaren aaneen a ea E N E ES 16 Organizer Window eee eee cece ence ene eee Ei E Enaka 17 FIGS Pane cciedeawe pater dean took a E EEEE ees 17 Effects Pane saraa e tha oidee pated ead AE
406. nd and then rerun the Reverb effect Sweeping Phaser Like the Flanger effect a Phaser introduces a variable phase shift to a split signal and recombines it creating special effects popularized by guitarists of the 1960s The Sweeping Phaser sweeps a notch or boost type filter back and forth about a center frequency 142 CHAPTER 8 Effects Menu Edit View Sweeping Phaser Effects J xj m Filter Characteristics Sweep Gain Presets Add Del Ki al 4 475 dB Awash in Bass Crunchy Center Frequency Heavy Phasing 4 ial 1000 Hz Heavy Vibrato Depth je a E ifs 7a Light Tremolo Slo Heavy Phasing Resonance Spacey al al Ifj a Synth Phasing Sweeping Rate aj B 8 718 Hz Period 115 ms Stereo Phase Difference jo k Tempo 523 08 bpm m Sweep Modes f Filter Type Co Sinusoidal BandPass Low Pass Cancel Triangular Levee Log Frequency Sweep A I Bypass Cose C Linear Frequency Sweep Master Gain 0 dB Preview Help Sweeping Phaser dialog A phase is similar to a flange except that instead of using a simple delay frequencies are phase shifted over time When used on stereo files the stereo image can be dramatically altered to create some truly interesting sounds Filter Characteristics Sweep Gain This slider lets your apply variable amounts of Sweep Gain which is the gain applied to the phased signal Take care to avoid clipping when applying highe
407. nd peaks When amplifying audio the audio samples may go beyond clipping If this happens you can choose to just let it clip and cause distortion or you can apply limiting to those areas so the audio doesn t actually clip which is what s commonly done for the audio of TV commer cials so they sound louder No Limiting Clip If this option is chosen no limiting will be performed which means you could end up with clipped distorted audio Use Limiting Choose this option to have Adobe Audition s Hard Limiter spring into action if needed to keep out of band peaks from clipping e Look Ahead Time This is the amount of time measured in milliseconds that it will generally take to attenuate the audio before the loudest peak will be hit Note If this value is too small audible distortion effects may be heard Make sure the value is at least 5 ms The default is 12 ms e Release Time This is the time measured in milliseconds that it takes for the attenuation to rebound back 12dB or roughly the time it would take audio to resume normal volume if an extremely loud peak was encountered Generally around 100 ms the default works very well and will preserve very low bass frequencies Note If this value is too long audio may just stay very quiet and not resume normal levels for a while The default is 200 ms Advanced Here s where you can modify the Statistics RMS Width which is measured in milliseconds The default is
408. ndow which allows you to save the current waveform to a new name location or format The File gt Save As function is also used to save newly recorded waveforms to disk Free space on all available drives is displayed in the right section of the window Save Waveform As 2h x Recent Folders c lmusic Si Save in ja Music gt e Fe Free Space L Bach Suite wav 4 Robbie way ae Seni Country way Smooth R amp B wav EA 4MB Desert Sand wav Ey OMB Gypsy Dance wav if LE Hardrock way ee 4 Hawaiian Moon way Just For Me wav 1 Light WAV Fil i ile Mozda File name Light Jazz wav Save as type Windows PCM wav x Cancel J Save extra non audio information _Options _ He Save Waveform As Dialog Recent Folders This shows the most recent folders that Adobe Audition has saved files in Select a folder name from the drop down box to quickly navigate to it Savein Use this control to navigate through all available drives and folders File Name Here s where you specify the name of the file Save as type Use this control to choose the format you wish to save from the drop down list of supported file types such as Windows PCM wav or MPEG 3 mp3 ADOBE AUDITION 53 User Guide Note Some formats can t be written to using waveforms of certain sample types In this case Adobe Audition asks you if you want to conve
409. ng The Wave In Tab of the Device Properties Dialog ADOBE AUDITION 231 User Guide Order The Order field displays the device preference order for the highlighted recording device To change this order press the Change button to bring up Adobe Audition s Device Ordering Preference dialog Use this device in Edit View Check this box to have Adobe Audition use the highlighted output device for recording waveforms in Edit View Get 32 bit Audio using Depending on if your recording device supports it you can send 32 bit audio as 3 byte Packed PCM 4 byte PCM or 4 byte IEEE float Multitrack Latency Some sound cards introduce a latency of several milliseconds when they record For example if you record on Track 1 and then record Track 2 while listening to Track 1 and find that the two tracks are out of sync by 7 milliseconds it s probably because of this latency problem This is a constant number though so through trial and error you can figure out how out of sync a particular device gets and then enter the number of milliseconds here in our example it would be 7 to force sync The default value is 0 Adjust to zero DC when recording Check this box to have Adobe Audition automatically remove any detected DC bias when recording MIDI Out Tab If your system is equipped with one or more MIDI devices this area is where you specify Adobe Audition s parameters for MIDI and SMPTE output If you have multiple MIDI devices
410. ng L R Cut Logarithmic default Equal power Sinusoidal OK o Cancel gt Help The Mixing tab of the Advanced Session Properties window Pre Mixing This is the bit depth used for the background mixing process Best quality is achieved by choosing the 32 bit setting especially for single output device situations or if you have a fast hard drive However if you re using multiple sound cards it may be advantageous to pick 16 bit for pre mixing as less data will be transferred across the hard drive s which will speed things up ADOBE AUDITION 297 User Guide Note Even if you do 16 bit pre mixing no data is lost and a final mixdown can still be 32 bit Panning This section sets the method used for panning waveforms in a multitrack session e L R Cut Logarithmic If this option is chosen left panning is achieved by reducing the volume of the right channel and right panning is performed by reducing the left channel volume The channel being panned to doesn t increase in volume as panning gets closer to 100 e Equal power Sinusoidal Choose this option to pan left and right channels with equal power so a hard pan left will contain the same loudness as both channels together This results in an increase of 3dB RMS on the channel being panned to when at 100 Note Because panning can actually make one channel louder than the original waveform audible clipping can occur in 16 bit sessions To avoid this work in the 3
411. ng delay offset Instead of going one way from the offset back a certain number of milliseconds it also goes from the destination up to the source a sort of forward feedback or feedforward This setting is handy when designing reverb effects Low Cut and High Cut Filters Audio being fed back into the delay line can also be filtered before going back in With a low cut filter the low frequencies are reduced or boosted depending on the Cutoff and Boost settings The High Cut filter can also cut or even boost the high frequencies This will make each successive echo filtered slightly differently for interesting effects ADOBE AUDITION 137 User Guide When designing a reverb it helps to cut some of the high frequencies to simulate absorption of the high frequencies by Q the surrounding walls e Cutoff Frequencies below this setting are affected by the Low Cut filter Frequencies above this setting are affected by the High Cut filter Changes in the cutoff value affect the tone of the echoes as more or less of the frequencies are affected by the filter e Boost is the amount of filtering to perform Boost settings are usually negative which means the audio is being cut or reduced in the affected frequency range e Lower negative values result in more audio being cut e Positive values result in boosted frequencies When echoing frequencies are generally not boosted However you can create interesting effects by entering posi
412. ng determines how much of the processed signal is mixed into the final output Generally this value should be set lower whenever more voices are used For example with a Thickness setting of 3 a setting of 40 would be appropriate but with Thickness at 10 20 might be better The best value will vary depending on the number of voices and the desired stereo image field settings Presets Adobe Audition provides several Chorus presets More information on presets can be found in the Looking at the Work Area chapter Highest Quality but slow Check this box to make sure the chorusing effect is the best quality However this will slow down processing time both when you preview the effect and when you actually apply it Preview Press the Preview button to audition the current Chorus setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Check the Bypass box to hear the waveform without any applied chorusing effects for a quick before and after comparison Delay Delay can be used to create single echoes as well as a number of other effects Delays of 35 milliseconds or more will be perceived as discrete echoes while those falling within the 15 34 millisecond range can be used to create a simple chorus or flanging effect These effect
413. ng if the EQ curve varies wildly over short periods of time ADOBE AUDITION 149 User Guide Final e 4 1201 5 Initial Cursor IV Graph response at point FFT Filter Transition Curve dialog Transition Curve Select this button to open the Transition Curve window It displays a graphical representation of the transition from initial to final filter settings The top graph shows time along the x axis with the left representing the start of your sample and the right side representing the end and where in the transition you are allowed the y axis with 0 representing your initial filter and 100 representing your final filter All points in between are a combination of your initial and final filter arrangements The readout below the graph displays the current x y position of your mouse In the Transition Curve window select from the following options e The Flat button in the Transition Curve window resets the curve to its default state of an unchanged signal removing all Control Points e Check this Graph response at point option to have the bottom graph update in response to your mouse position in the top graph The bottom graph shows the filter at any given point in the transition provided the Graph response option is checked and corresponds directly to the position of the mouse in the top graph click or click and drag to update the view Watch how the filter settings change as you move your mouse up and down in the
414. ng your project for a third party or specific encoding process it is recommended that you ask the recipient exactly which format they require since channel order requirements can differ for different encoding systems If a different channel order is required then use the Export to 6 Mono WAV files when you export e Encode as WMA 6 Channel Multichannel WMA files are capable of being played back by anyone that has installed the Windows Media Player version 9 or later assuming of course they also have a multichannel output sound card and 5 1 speaker setup Media Player 9 also requires that the user is running Windows XP as their operating system If the end user has the Windows Media 9 player on any other Windows version then the multichannel file will automatically be folded down to play as a stereo file For more information on the Windows Media 9 technologies please visit the Microsoft Windows Media website at http www windowsmedia com 342 CHAPTER 20 Multichannel Encoder Export and encode as Windows Media Audio Pro 6 channel file Windows Media Audio Options Constant bit rate Fold down to stereo settings Pie 3 Variable bit rate M Show codec formats that most closely Lossless match the session s sample rate Format options Windows Media Audio 9 Professional CBR 128 kbps 44 kHz 16 bit v Filenames to be saved BoseaNovabed wma Export options The WMA format utilizes a perceptual compression scheme and allo
415. nge are non destructive The use of real time effects in Multitrack View is non destructive as well CHAPTER 1 Key Concepts of Adobe Audition This same model of delayed destructive editing also enables Adobe Audition to offer multiple levels of Undo When you apply destructive edits to a waveform Adobe Audition retains a copy of the file as it exists before the edit It does this for each edit you perform enabling you to travel back through your edits to previous states of the waveform Multiple Undo gives you tremendous freedom in working on waveforms without having to worry about destructiveness in the least However it also requires additional hard drive space to store these copies Copies are automatically deleted from your hard drive when you close a file or exit the program You can disable the Undo feature if your disk space runs too low Real Time Preview In the Edit View Adobe Audition offers real time preview for many of its effects This means that you can monitor the processed signal before applying the effect to the waveform Remember the effect is actually applied to a copy of the waveform and can be freely undone The preview feature updates in real time meaning that changes you make to effect parameters while in the dialog for that effect become audible immediately while the audio is playing Keep in mind however that your system s performance affects the preview feature On slower systems some effects may tend to
416. nge button pushed Higher points on the curve speed up the sound while lower points slow it down Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Spline Check the Spline box to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line will not ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Flat Press this button to reset the graph with all points being set to no pitch bending Zero Ends If you re pitch bending the middle of a selection it s good to have the endpoints be at the same rate as the surrounding audio Pressing this button will set the endpoints to no pitch shift ADOBE AUDITION User Guide Quality Level Use this drop down list to select the desired quality level The higher quality levels will sound best but will take longer to process The lower quality levels have more unwanted harmonic distortion but will process more quickly Usuall
417. ngs Expanding works by subtracting out or adding differing amounts of left and right channel signal so things occurring on the right or left are boosted or cut Both of these elements can be altered dynamically over time by using the respective graph Center Channel Pan This graph represents the pan position of the center channel of a stereo waveform over time The graph s x axis horizontal represents the length of the waveform or selection while the y axis vertical represents the percentage of the pan from center You can use the graph to position the center channel anywhere from hard left 100 or hard right 100 with the corresponding surround channel moving right to left in the opposite direction Use this for panning original stereo data more realistically than amplitude panning allows 114 CHAPTER 8 Effects Menu Edit View Stereo Expand This graph shows the expand level over time This either amplifies gt 100 or removes lt 100 the differences between channels The graph s x axis horizontal represents the length of the waveform or selection while the y axis vertical represents the percentage of stereo expansion With some material a stereo expanding effect may be achieved by increasing the differences between the left and right channels The expansion level can vary over time for interesting effects growing from a mono signal to a very wide stereo signal for example Note For more information about Adob
418. no files to stereo before applying a Chorus effect Chorus Characteristics These are the characteristics used for each voice layer in the chorus While the properties below apply to each voice they represent ranges of random values so each voice will be unique in each of these characteristics Thickness Thickness determines the number of voices that are simulated in the chorus effect Enter the number of desired voices in this field The final result may end up with an additional voice if the Dry Out setting is used which mixes the original sample in with the chorused result Note The more voices you specify the longer the effect will take to compute but the result will have extra richness and fullness Max Delay An important component of chorusing is the introduction of short delays often in the 15 35 millisecond range that vary in duration over time Use this setting to limit the maximum amount of delay that will ever occur e Ifthe setting is very small all the voices will start merging into the original and an unnatural flanging effect may be noticed e If itis set high everything will start to sound warbly rather like a tape that is being eaten by a cassette deck 117 118 CHAPTER 8 Effects Menu Edit View Delay Rate This parameter determines the time taken for the delay to cycle from its zero to maximum delay setting Because the actual delay used varies over time the pitch of the sample will increase or
419. no files you can then insert them into six tracks of an Adobe Audition multitrack session To save these files back as one interleaved multichannel file it is necessary to launch the Multichannel Encoder dialog and assign each file back to its own individual channel and perform an export again as WMA Pro or 6 channel WAV as desired You should of course be sure to set the pan assignment to the correct channel order if you wish to keep the same channel order as the opened 6 channel file 343 344 CHAPTER 20 Multichannel Encoder 345 Appendix A Keyboard Shortcuts dobe Audition offers a wide variety of built in keyboard shortcuts that can be used to speed up the editing process Many users find these shortcuts help them to work a lot faster than using the corresponding menu commands toolbar icons or controls Keyboard Shortcuts ix Category show all M Multitrack Edit View r Shortcut Key Command Name Shortcut MIDI Trigger File New wW Press new shortcut key File Spawn Another Copy of Cool Edit Ctrlew Clear File Open 0 File Open Session p File ppend to Session m MIDI Trigger File Save Session Press new MIDI note or File Save Session As adiust new controller value File Open As O File Open Append Dear File Revert to Saved f hemes ho g File Close 2 Ctrl F 4 File Close All Waves and Session Conflicting Keys File Close Non Session Waves File Save S File Save A
420. nse this feature uses one waveform to model the sound of another waveform The result can be that of filtering echoing phase shifting or any combination of these effects That is any filtered version of a waveform can be echoed at any delay any number of times Digital Convolution x Create Custom Impulse Load Save Clear SaMo Highlighted Selection p Add to Impulse Scaled by 17 417 Add Sel gt gt Bandpassed Echoes Minimum 0 Hz Add Echo gt gt Maximum 22050 Hz 0 FIR Size 128 pel pe use delay gt 3 ms Left 100 Rifo 30973 point Mono Impulse Loaded Impulse File C Cool Edit Pro Two imps boingy imp ox Global Settings fe I Normalized View 1 195 Close Volume 100 Shitjo ms Cvi E Help Convolution dialog For example convolving someone saying Hey with a drum track short full spectrum sounds such as snares work best will result in the drums saying Hey each time they are hit You can build impulses from scratch by specifying how to filter the audio and the delay at which it should be echoed or by copying audio directly from a waveform 175 176 CHAPTER 8 Effects Menu Edit View With the proper impulses any reverberant space can be simulated For example if you have an impulse of your favorite cathedral and convolute it with any mono audio left and right channels the same then the result would s
421. nsions Sampler Mise File Info OK i Cancel Use default wave color g Wave Properties Dialog Misc tab Press the Bitmap button in this window to browse your system for a bmp or dib file that can be used to represent the audio file when it s displayed in OLE compatible applications and in Explorer For best results choose a 32x32 pixel image If the Use default wave color box is checked then the same wave color used for your current color scheme the color of an unselected waveform in the Edit View wave display is used Want to use another color Uncheck the Use default wave color box and the Waveform Foreground Color dialog appears to let you select another color This box works similarly to the standard Windows color selector dialog File Info Tab xi Text Fields Loop Info EBU Extensions Sampler Misc File Info General file information Stop Draggin My Heart Around wav C lMusic 44100Hz 16 bit Stereo 41 04 MB 43 041 600 bytes Windows PCM Windows PCM 41 04 MB 43 041 644 bytes 8 15 2001 14 24 32 000 4 10 760 400 samples Wave Properties Dialog File Info tab The File Info window displays non editable file information about the active audio file You can see the waveform s Filename Folder File Type Uncompressed Size File Format Size on Disk Date and Time Last Written and Length 97 Chapter 8 Effects Menu Edit View he Effects menu displ
422. ntering a particular frequency measured in Hz You can apply different amounts of attenuation for each frequency by unchecking Fix Attenuations to at the bottom of the Notch Filter dialog Then enter the attenuation level measured in dB desired Both the lower and upper DTMF tone sets those used in the telephone system can also be filtered as well This is sometimes handy when preparing audio that could air on the radio Just check which set of tones you wish to filter Fix Attenuations to This allows you to set attenuation levels e When this box is checked all attenuation levels are the same e Uncheck the box to set individual attenuation levels for each of the frequencies Notch Width This drop down control lets you select from three notch width presets They range from Narrow for a second order notch filter which can remove some side frequencies to Super Narrow for a sixth order notch filter which is very specific It s recommended that you use no larger than 30dB attenuations for a Narrow setting no more than 60dB for Very Narrow and no more than 90dB for Super Narrow Any more attenuation for the given notch width will result in a wide range of neighboring frequencies being removed as well Presets Adobe Audition comes with several Notch Filter presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Notch Filter setting before you
423. nts This area is for making any comments you wish Feel free to include any special effects or enhancements you made to any preexisting waves so that the editing history can be tracked Don t use line returns i e don t hit the Enter key after completing a line but end each sentence with a period Sample entry It took 3 hours to get this recording right Ted added reverb effects and noise reduction using Adobe Audition and it s ready to be mastered ADOBE AUDITION 91 User Guide e Subject Use this field to describe the contents of the file Feel free to include a description of the instruments used where someone can find the song recorded etc Line returns are OK and are created by pressing Ctrl J Sometimes copyright information is placed here as well For instance The shakuhachi of Japan lt Ctrl J gt lt Ctrl J gt The shaku hachi was developed in the 15th century from a Chinese end blown flute called the chiba If you select Radio Industry the fields in the Text Fields change to accommodate information for commercials and other types of audio files used by radio broadcasters They include e Description This is where you enter the name of the production such as Joe s Chevrolet March Madness Sale or Kiss FM Legal ID e Advertiser Place the name of the sponsor in the field Examples include First National Bank or In House Promo e Outcue A description of the ending such as the last few
424. nts to create delays 15 50 ms offsets or echoes 50 ms or greater offsets 4 Repeat this any number of times shifting each Image slightly more to the right You can even create in tempo delays by changing the Display Time Format to Bars and Beats and use the Snapping function to Snap To Ruler locations placing the delayed Images at every beat for example Try reducing the volume levels slightly for each Image to soften the echoes also the combined waveforms will increase the track s overall level in the mix and could cause clipping You can also create both Pan and Volume envelopes for each Image for truly dynamic delay effects that change over time Convert to Unique Copy This command creates a copy of the selected waveform block Copying a waveform block in the multitrack environment as opposed to creating an Image will create a separate audio file on disk identical to the original in size and disk space consumption Creating a copy of a waveform block has the advantage of allowing for separate editing of each occurrence of the waveform you can add reverb to the one placed in your intro while the same sound placed in your verse can be dry Images have the advantage of not consuming any disk space and depending on the situation it may be an advantage to be able to affect all occurrences of a waveform block by editing the original once With Images you can add a Flanger effect to one instance and all 30 instances for example would b
425. nu lists all of the tracks in the MIDI block Checkmark a track and Adobe Audition will playback only that track when the MIDI block is played If you want to hear all of the MIDI block s tracks checkmark the All item ADOBE AUDITION 263 User Guide Set Controller 7 MIDI Block Only The Controller 7 value for a MIDI file is the master volume setting This value gets sent out each time a MIDI file is played and tells the MIDI playback device what volume to play this file at This option just lets you change the controller value directly in case you have a MIDI file whose Controller 7 value is too low or high MIDI Controller 7 olume xi Default controller 7 value 127 The MIDI Controller 7 dialog Save Mixdown to Video As Video Block Only When this command is selected the audio session will be mixed down with the loaded video file to create a new soundtrack for the video That is a new video file will be created where all of the audio which is concurrent with the video block is mixed down and provides the soundtrack and then the video stream from the original video block provides the video stream The original video stream is actually untouched so this is the method by which you could save back out a video block with a new soundtrack Mix Down to File Running this command which is only visible when two or more blocks are selected will mix the selected blocks into a new stereo waveform This new waveform is automatically pla
426. ny permission required from the copyright owner Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual or ganization Adobe the Adobe logo Adobe Audition Adobe Premiere and After Effects are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and or other countries Apple Macintosh and Mac OS are trademarks of Apple Computer Inc registered in the U S and other countries Microsoft Windows and Windows NT are registered trademarks of Microsoft Corporation in the U S and or other countries MPEG Layer 3 audio compression technology is licensed by Fraunhofer IIS and Thompson mp3PRO audio coding technology licensed from Coding Technologies Fraunhofer IIS and Thomson Multimedia All other trademarks are the property of their respective owners Supply of this product does not convey a license nor imply any right to distribute MP3 encoded or mp3PRO encoded data created with this product in revenue generating broadcast systems terrestrial satellite cable and or other distribution channels streaming applications via Internet intranets and or other networks other content distribution systems pay audio or audio on demand applications and the like or on physical media compact discs digital versatile discs semiconductor chips hard drives memory cards and the like An independent li cense for such use is required For
427. o Multitrack This command takes the currently highlighted portion of a waveform and inserts it as a waveform block in the Multitrack View window If there isn t a highlighted segment the entire current waveform is inserted Either way the inserted audio is placed in the next available track at the beginning of the window s timeline Cut Use Cut to remove the current waveform or highlighted part of the waveform to the active clipboard Note While Adobe Audition can use the Windows clipboard for cut and paste operations by default it uses its own internal clipboard which is faster and more suitable for working with large waveforms As a matter of fact it puts five such super clipboards at your disposal Copy This command copies the current waveform or highlighted part of the waveform to the active clipboard Keep in mind that if you want to copy audio to another Windows application the current clipboard must be set to Windows Otherwise use one of Adobe Audition s internal clipboards which are faster and can handle more data Copy to New When this command is run the current waveform or highlighted part of the waveform is copied to the active clipboard and then automatically pasted into a new Wave Display window Paste Paste inserts data from the active clipboard at the insertion point or it replaces the currently highlighted data If the format of the waveform data on the clipboard is different from the format of the file it
428. o correctly you can have Adobe Audition limit the playback of 32 bit files to either 16 bit or 8 bit and or mono Send 32 bit audio as This option is enabled if you don t have any of the boxes checked in Limit Playback to Depending on if your output device supports it you can send 32 bit audio as 3 byte Packed PCM 4 byte PCM or 4 byte IEEE float 229 230 CHAPTER 12 Options Menu Edit View Enable Dithering Check this box to activate dithering during waveform playback If dithering isn t enabled Adobe Audition truncates instead This means that bits that aren t used are simply chopped off and discarded This gives a crackly effect that fades in and out on very quiet audio passages Note Dithering only kicks in if you re limiting high bit depth audio to a lower bit depth playback e bits This drop down list lets you choose the number of bits of Dither to be applied from 8 to 32 Generally values of what to what give the best results without adding too much noise Note however that as this value is lowered other unwanted harmonic distortion noise will appear e p d f The probability distribution function controls how the dithered noise is distributed away from the original audio sample value Five p d f types are available from the drop down list Rectangular Triangular Gaussian Shaped Triangular and Shaped Gaussian Usually one of the Triangular p d f functions is a wise choice because it gives
429. o hierarchical submenus for easy organization Edit Favorites This command brings up the dialog where you create delete edit and organize items that appear in Adobe Audition s Favorites menu Favorites xi TE Properties Name WamRoomReveb Sewe Ez Press new shortcut key _Lancel Delet es Clear Function Script Tool Help Cool Edit Effect Delay Effects Reverb X 650 880 25974 1896 589 43 2 74 Edit Settings 181 1 872 I Use Current Settings I Show Dialog Bown Edit Favorites Dialog New Press this button to enable the fields in the Properties area of the Favorites dialog so that you can create a new Favorite Edit Pressing this button allows you to modify the properties of a highlighted entry in the Favorites list Delete This button deletes the highlighted Favorite Up This button moves the selected item up in the list The order of this list is the same as in the Favorites menu Down This button moves the selected item down in the list The order of this list is the same as in the Favorites menu Name Enter the name of a created Favorite in this field You may create hierarchical menus by using a backslash For example My Delays Hall Reverb places the item under Hall Reverb in the My Delays submenu 204 CHAPTER 11 Favorites Menu Edit View To place a separator bar into the Favorites list to separate one function type from the others enter a series of da
430. o to the Run dialog in the Windows Start menu and enter c cool coolpro exe thisfile wav as your command line then Adobe Audition will launch and begin playing thisfile wav Live update during recording This enables live waveform drawing while recording On faster machines you can have the waveform displayed in real time as audio is being recorded However if you find the recorded audio becoming choppy leave this option disabled In the Edit View s Spectral View mode and at lower spectral resolutions around 256 a nice scrolling spectral plot can be performed while recording with this option on Auto scroll during playback and recording If enabled the waveform display will scroll in sync with playback This only affects when you are zoomed in on a portion of a waveform and play past the viewed portion by pressing Shift Play for example Upon a manual scroll zoom selection change When a manual scroll a zoom or a selection change occurs in Adobe Audition three options are available You can abort auto scrolling until the next time you play or record resume auto scrolling only when the play cursor enters the view or resume auto scrolling immediately Choose the one that best suits your needs Custom Time Code Display This field is used to define the number of frames per second FPS assigned to the Custom time format in the View gt Display Time Format menu Restore Default Window Layouts Press this button to reset all wind
431. o you can quickly edit and remix soundtracks To link mixdown and session files choose Options gt Settings click the Data tab and select Embed Project Link Data for Edit Original Functionality 10 CHAPTER 1 Key Concepts of Adobe Audition Chapter 2 Looking at the Work Area that can be used to play record modify and process mono and stereo waveforms And Adobe Audition can also digitally record and mix numerous audio files using up to 128 tracks to either a single sound card or multiple sound cards while providing for real time effects and level pan mix adjustments in a non destructive editing Y ou might think of Adobe Audition as two major audio programs in one Its a powerful single waveform editor environment This chapter is meant to be a brief introduction to the various navigation and functional controls of this deceptively simple yet powerful program Here we ll concentrate on the major interface elements that are common between Adobe Audition s two major work areas Edit View and Multitrack View Parts of the program that are more specific to either area will be covered in subsequent chapters Adobe Audition makes liberal use of your mouse s right button Whenever you see a simple function button control Q window or waveform action try right clicking it Chances are you ll be surprised by a useful shortcut menu or a set of handy options that can make Adobe Audition s operation even easier Edit View and Mu
432. obe Audition s View menu e Click on the left most icon on the Adobe Audition File toolbar Press F12 Switching from Multitrack View to Edit View Several methods are provided to switch from Multitrack View to Edit View These include e Double click on a waveform s entry in the File tab of the Organizer Window e Double click on a wave block e Select Edit Waveform from a wave block s right click menu e Select Edit Waveform View from Adobe Audition s View menu Click on the left most icon on the Adobe Audition File toolbar Press F12 14 CHAPTER 2 Looking at the Work Area Dockable Windows If Adobe Audition s default interface layout doesn t quite meet the current needs of your project or screen resolution youll be happy to know that many individual parts of the interface are dockable This means that interface components like the Transport Buttons the Time Display window the Level Meters and Rulers may be detached from their current location to float above Adobe Audition s main window or they may be repositioned and resized within the main window so they better suit your requirements How can you tell if a part of the Adobe Audition interface is indeed a dockable window Look for two thin vertical or horizontal lines these lines are the handle or grab bar of a dockable window Move your mouse over a handle and your mouse cursor looks like a plus sign with arrows at each end For quick refere
433. ock has been split each segment can be moved deleted or slid in time independently of the other segments Splitting a waveform is non destructive it does not alter the waveform on disk Merge Rejoin Split Merge Rejoin Split recombines a split segment of a waveform block with the original surrounding material provided that the split segment sits at the same relative location as where it was split from and in the same track as the original segment s The boundaries of the segments are joined together using a 30 millisecond crossfade The Merge Rejoin Split command can also be used to rejoin a take created using Punch In to the rest of the waveform Note This merge operation is destructive in that it does alter your sound file when rejoining a Punch In segment the file is rewritten with the new material for example Align Left The Align Left command which is only accessible if two or more blocks are highlighted to make the left hand edges of all highlighted blocks the same as the left hand edge of the last highlighted block Align Right Click the Align Right command which is only visible when two or more blocks are highlighted to make the right hand edges of all highlighted blocks the same as the right hand edge of the last block you highlighted Adjust Boundaries This function will adjust the boundaries of the selected waveform block either inwardly or outwardly After highlighting to define an area to adjust to any material in the wa
434. off Non muted blocks in that track will play as normal e Lock in Time Check this box to prevent the wave block from being moved forward or backwards through the track e Lock for Play Only This option prevents the wave block from being recorded over Transpose MIDI Block Only Use this command and its submenu options to transpose the key of a MIDI block up or down by up to 7 steps Set Tempo MIDI Block Only The command displays the Adjust MIDI Tempo box where you can make changes to the tempo of the MIDI block using the Tempo field provided The value used is percentage with 100 being the default no change in tempo Values over 100 speed up MIDI playback while values of 99 and under slow down the MIDI block s tempo Check the Use session tempo box to use the tempo value already specified in View gt Session information which disables the Tempo field Adjust MIDI Tempo x Tempo 140 y J7 Use session tempo Adjust MIDI Tempo Dialog Zoom in out MIDI Block Only There are 127 note values that a MIDI note can be assigned to By default Adobe Audition figures out which is the highest note in a MIDI block and which is the lowest and zooms in the note display in the block so that the highest note is at the top and the lowest is at the bottom If you select Zoom Out all the values are displayed on scale with the 127 note values which gives you lots of extra space in the block Active Track MIDI Block Only This command s subme
435. ols for viewing and altering track properties such as pan EQ and level adding real time effects assigning multiple tracks to a bus and adjusting the input output routing sound card assignment of each track Track Effects This term refers to Adobe Audition s non bus real time effects They are accessed through the Track Effects Rack dialog Track Effects Configuration This dialog shows tabs for each effect on a given track It s where you actually set the properties for that effect such as the delay length Track Effects Rack The Track Effects Rack dialog is the initial dialog used for deciding which real time effect s you wish to add to or remove from a track TXT See ASCII Text Data Unity Gain When a device is set to Unity Gain it means its output will be at its specified line level Because there are different line levels 10 dBV and 4 dBu being the most common a device could take a voltage of one level turn it up to a different level and pass that as its unity gain VOC This is the Sound Blaster and Sound Blaster Pro voice file format Adobe Audition supports both old and new style voc files The older voc format only supports 8 bit files Mono files can have a sample rate of up to 44 1 kHz and stereo up to 22 kHz The newer type of voc file supports both 8 bit and 16 bit audio VOC files can contain information for looping and silence If the file yowre loading contains loops and silence blocks they ll be expanded while
436. on IMA flavor of ADPCM compresses 16 bit data to 4 bits sample 4 1 using a different faster method than Microsoft ADPCM and has different distortion characteristics which can produce either better or worse results depending on the sample being compressed As with Microsoft ADPCM it s best to save to this format from 16 bit rather than from 8 bit This compression scheme can be a good alternative to MPEG it provides reasonably fast decoding of 4 1 compression and it degrades sample quality only slightly Options Choose from the following e 2 bits sample 8 1 e This option creates ADPCM wav files with the highest compression ratio 8 1 but with the lowest number of bits Select this option when smaller file size is more important than audio quality Keep in mind that this compression rate is less compatible than the standard 4 bit and may not be able to be played back on all systems e 3 bits sample 5 3 1 The 3 bit ADPCM files produced with this option use a compression ratio of 5 3 1 Quality is better than with the 2 bits option but not quite as good as the 4 and 5 bits choices Some systems might have problems playing back files compressed with this option especially stereo files e 4 bits sample 4 1 This is the default option which produces 4 bit files at a compression ratio of 4 1 e 5 bits sample 3 2 1 Use this option for the best quality since more bits and a lower compression ratio are used However this compre
437. on disables Adobe Audition s quick save feature Normally Adobe Audition quick saves a file if only a small portion of the file was modified If you force flushing before saving Adobe Audition must first make a backup copy of the file internally and then write the entire file back during the save process This option is disabled by default It was added for users who have problems saving back to the same filename Enabling this option will increase the save time considerably for large files Don t enable it unless you have a problem with Adobe Audition s quick save function Colors Tab Don t care for Adobe Audition s default color scheme This section of the Settings window is where you can customize its interface s various hues and shades to your heart s content Settings General System Colors Display Data Multitrack SMPTE Waveform Spectral Controls Color Presets Save ds Delete Easy on the Eyes Waveform Foreground Waveform Background Boundary Lines Center Lines Cue Start Marker Cue End Marker Grid Lines Selection Highlight Selection Cursor Example r Selection Transparency Invert mmm j y e0 a 100 Cancel EE wc lth Help The Colors Tab of the Settings Dialog ADOBE AUDITION 219 User Guide Color Scheme Presets Most color assignments in Adobe Audition can be adjusted to your liking and saved as a preset for later recall Th
438. on noise meaning that the noise that s heard doesn t depend on the frequency of the dithered audio thus no harmonic distortion appears The SNR Loss is measured against the undithered case If modulation is present the audible noise floor rises and falls depending on the amplitude of the signal so generally one doesn t want this either p d f SNR Loss Modulation Rectangular 3dB Yes Triangular 4 8dB No Gaussian 6dB Negligible Shaped Triangular 4 8dB No Shaped Gaussian 6dB Negligible Usually a Triangular p d f function is a wise choice because it gives the best tradeoff between SNR distortion and noise modulation Noise Shaping Select one of the several noise shaping presets known as noise shaping curves to have Adobe Audition determine the placement when moving noise to different frequencies The same amount of noise overall is present but you can choose less noise to be placed at one frequency at the expense of placing more noise at another You may also specify that no noise shaping is used 78 CHAPTER 6 Edit Menu Edit View Note Different curves result in different types of background noise The type of curve to use depends on the source audio final sample rate and bit resolution By introducing noise shaping you may be able to get away with lower Dither depths to reduce the overall background noise level without introducing a lot of unwanted harmonic noise Curve Sample Rate
439. on of the incoming early reflections The Left Right Location slider in Early Reflections determines the direction the audio will sound like it s coming from when listened to with stereo headphones Combine Source Left and Right When working with stereo audio there are actually two source signals left and right that can be placed independently However this requires twice as many calculations as a single audio source If youre after faster processing time check the Combine Source Left and Right box Adobe Audition then sums the left and right channels of a stereo source file before routing it to the effects processor When unchecked the original signal and its respective reverberated signal remain in its own channel If you know that both channels are identical that is if they originated from a monophonic sample you should definitely check this option to minimize processing time Presets Adobe Audition comes with several Full Reverb presets More information on presets can be found in the Looking at the Work Area chapter Preview ADOBE AUDITION User Guide Press the Preview button to audition the current Full Reverb setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Make sure that there is enough silence at the end of
440. on to Adobe Audition Engage this option to take advantage of this sample accurate sync when slaving to SMPTE through such sound cards Pause Background Mixing Enable this option to halt Adobe Audition s background mixing process Background mixing pre mixes audio before the audio is played This can relieve some of your computer s processing load at playback time if some audio can be mixed before you even hit the Play button Adobe Audition will function with background mixing turned off but in most cases you d be better off with it enabled However you may want to pause background mixing if you are making lots and lots of edits and don t want the hard drive trying to keep up with the background mixing only to have you make more edits which invalidate the previous mixing Metronome This command brings up the Metronome tab of Adobe Audition s Session Properties window Note The Metronome function is fully documented in the View Multitrack View chapter Windows Recording Mixer Select this command to display the Record Control part of the Windows Mixer a k a Volume Control so that you adjust sound card recording levels Settings You can customize Adobe Audition s colors use of memory and hard disk space multitrack behavior SMPTE options and miscellaneous other program characteristics in Options gt Settings Note Complete documentation on the Settings dialog can be found in the Options Menu Edit Vie
441. ons of the two settings Over time the first setting becomes the second At some point the setting will stop looking like the initial configuration and start looking like the final configuration In the filtering world this means that frequencies between the ones selected to be filtered will also be filtered In migrating from the initial to the final filter configuration the points in the in between settings are just the average between the two settings For example a filter setting exactly between the initial and final would be the exact average of the initial and final filter settings Precision Factor This value determines how accurately you want to filter over time when separate initial and final settings are used A larger number low factor means the filter settings will change roughly or in chunks from initial to final while smaller numbers higher factor will make the transition much smoother In any case the higher the precision factor the longer it will take to filter your selection but the nicer it will sound Since the FFT function takes a large group of samples and filters them all at once the precision factor determines how many samples from the entire group will actually be saved A factor of 2 means that half of the samples are saved while a factor of 10 means that 1 10 of the samples are saved Since there can be only one filter setting for the entire group of samples you may want a more accurate or smaller setti
442. ontain information for looping and silence If the file youre loading contains loops and silence blocks they ll be expanded while loading Options Choose one of the following e Old Style saves your audio as an 8 bit voc file that can be played on any Sound Blaster card e New Style allows you to save to the newer voc format that supports both 8 bit and 16 bit audio Dialogic ADPCM vox The Dialogic ADPCM format is commonly found in telephony applications and has been optimized for low sample rate voice It will only save mono 16 bit audio and like other ADPCM formats it compresses to 4 bits sample for a 4 1 ratio This format has no header so any file format with the extension vox will be assumed to be in this format When opening VOX files you ll be prompted for a sample rate unless Don t ask for further details is checked in the Open a Waveform dialog Note Take note of the sample rate of your audio before saving as Dialogic VOX as you ll need to enter it upon reopening the file DiamondWare Digitized dwd This is the audio format used by DiamondWare s Sound Toolkit a programmer s library that lets you quickly and easily add high quality interactive audio to games and multimedia applications It supports both mono and stereo files at a variety of resolutions and sample rates See http www dw com for more information ADOBE AUDITION 33 User Guide DVI IMA ADPCM wav The International Multimedia Associati
443. ontains all scripts available in the selected collection Choose the particular script you want to run Pause at Dialogs If checked the script stops at each settings dialog to allow you to modify the values Otherwise the entire script will run to completion before control returns Tool Tab Command Line Enter the command line for the tool you want to run here including any command line switches the particular tool may need The small button to the left of the field brings up a dialog that lets you browse your system for the desired program Help Tab This area provides instructions for adding separators and submenus to the Favorites menu To add a Fade Out function to the Favorites List and give it the hotkey of Alt F7 1 Select Edit Favorites from the Favorites menu On the Favorites dialog that appears push the New button In the Name field type Fade Out without the quotes Check the Alt box and select F7 from the Hot Key drop down list From the Audition Effect drop down list in the Function tab Select Amplitude Amplify Press the Edit Settings button which will display the Amplify effect dialog Choose Fade Out from the Amplify dialog s list of Presets and click OK Make sure the Show Dialog box is unchecked oo on Oo UU W N Press the Save button to add Fade Out to the Favorites list and press Close The next time you want to fade out a portion of a waveform just highlight it and press Alt F7 206 CHAPT
444. op Eliminator 161 lip Restoration 166 lipboards 62 lipping Statistics 167 lock Drift Correction Time 228 Cc Cc Cc Cc Cc Cc Cc Close All Waves and Session 51 Close File button 17 C ose Only Non Session Waveforms 51 275 Close Session 275 Close Session and Waveforms 275 Colors tab 218 Column bar 82 Comments field 90 92 Compact Disc 75 fps 86 Config button 289 Conflicting Keys 352 Context Menus displaying 241 Conversion Properties 277 Convert Sample Rate 277 Convert Sample Type 54 75 Convert to Unique Copy 266 309 Convolution 175 Copy 62 Copy to New 42 64 Correct for Drift in Recordings 227 Correct for Start Sync in Recordings 227 Creation Date field 90 91 Creative Sound Blaster 32 Crossfade 64 265 307 Crossfade Time 226 Cue Handle context menu 81 Cue Info edit 82 Cue List show 80 84 293 Cues and Ranges 81 Current Effects Rack 288 Currently Open Waveform List 316 Cursor At 298 Custom 190 Custom frames 86 Custom Time Code Display 215 Customer support 1 Customize Metronome Time Signature 298 Cut 62 312 D Damping factors 127 Damping Frequency 128 Data tab 222 Data Under Cursor option 27 DC Bias Adjust 99 112 DC Offset 194 200 Decay 124 138 Decibels 88 Decibels Format 112 Decimal mm ss ddd 86 Default Selection Range 216 Default Session 279 Defaults 226 Define Custom Frames 88 Delay 120 Delay Effects 116 Delay Multitap 135 Delete 82 Dele
445. opefully a better take Adobe Audition allows for multiple takes when Punching In you can continually record over the original material and afterward choose between the best performance or return to the original data Punch In will work on one or more waveforms at a time ADOBE AUDITION 307 User Guide To use Punch In e Highlight the area of the waveform block or blocks you would like to Punch into For an exact selection you can switch back to Adobe Audition s Edit View and use the Find Beats Zero Crossings and Snapping functions to make your selection and then switch back to Multitrack View e Choose Punch In from the Edit menu or from the menu that appears when you right click on the waveform block This will enable the selection for record and put the track into record mode e You can position the playback cursor sometime before the Punch In location and press the Record button The session will begin playback and upon hitting the Punch point will record into the selected area e After recording you can take another pass at the Punch When finished you can monitor the different takes by right clicking on the waveform block and choosing them from the Take History menu option Use the desired Merge Take command on the right click menu when you ve decided among them If possible it s best to choose sections of the waveform where there are gaps in the audio for your Punch points This will Q make it easier to achieve a n
446. or a single device that has multiple outputs theyll show up as choices in the two drop down lists at the top left corner of this window Device Properties j x Wave Out Waveln MIDI Out MIDI In Ext Controller MIDI Output B SB Live MIDI Synth v Order fist Change SMPTE Output Microsoft GS The MIDI Out Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted MIDI Output device To change this order press the Change button to bring up Adobe Audition s Device Ordering Preference dialog 232 CHAPTER 12 Options Menu Edit View MIDI In Tab If your system is equipped with one or more MIDI devices this area is where you specify Adobe Audition s parameters for MIDI input If you have multiple MIDI devices or a single device that has multiple inputs they ll show up as choices in the drop down list at the top left corner of this window Device Properties D xj Wave Out Wave In MIDI Out MIDI In Ext Controller SB Live MIDI UART x Order fist Change OK LK Cancel Help The Wave In Tab of the Device Properties Dialog Order The Order field displays the device preference order for the highlighted MIDI Input device To change this order press the Change button to bring up Adobe Audition s Device Ordering Preference dialog Ext Controller Tab If you have any external devices that Adobe Audition supports you can select
447. or the following 10 seconds the delay could be at 7 milliseconds and so on 121 CHAPTER 8 Effects Menu Edit View Dynamic Delay x Original 50 Delayed 50 Presets Add Del Preview KI E 2 Invert I Bypass r Delay Spacey Splined amp Fine sec 4 Flat Spline Curves r Feedback IV Loop Graphs Frequency 1 Hz Period 10 Total Cycles 875 Close Stereo Curve Delay sec 4 5 ms Right delayed Cancel Flat I Spline Curves eies Help Dynamic Delay dialog Dynamic Delay is especially cool when used as a real time effect in the Multitrack View If you add the dynamic delay or Dynamic EQ which has a similar principle to the Multitrack View you get a new envelope that determines the delay Original Delayed Slider Use this control to mix in the desired amounts of original and delayed audio The more of the original signal you have in the mix the less delay youd have and vice versa Invert Check this box to invert the delayed signal This causes the waves to cancel out periodically instead of reinforcing the signal Delay Graph Use the Delay Graph to specify the amount of delay in the Dynamic Delay effect The x axis horizontal edge represents the timeline of the selection while the y axis vertical edge represents the length of delay measured in milliseconds Functionally the Delay Graph works just like any other Adobe Audition
448. ording Mixer 0c cece cece eee n erence eee 209 Scripts amp Batch Processing cece cece cnet eee iaaa ieaie 209 Batchi Process meern eok oo ugameenataimecauenesaueeen sence 212 SENINGS eidicnacaracantecdeunneeea mask ER a 214 MOUSE WHEEL Secrmosrssn menonsa aa a E 215 System TaD masserne EIR T TA E E 216 Colors Tabi roria orraa O ETE E N E ies 218 Spectralilab csanceisveceree T T E E A E aS 219 Contool Tab surera E a E a E OE et Ae 220 Display Tab cav caeron tin or ES OE O 220 Datafab vicsdavcag nna D a a a E EG 222 Multitrack Tab sgitosiinonirnsnen iaaa aan Ei 224 SMPTE Tab arerio vcaaciiavis nae en a a TER E 228 D vic Properties sedecces ails dais eaawiaes nasieasinad chase anders 229 Wave OutTab ssctecdpaasenad a ana E E AE EEA 229 WavelmTab misrasi riaperta a enana a aE ANE O E a 230 MIDVOUtTAD sarreria eaea E ERENER TE E 231 MIDA TAD s ccesiecvadtesuatavsawaherangewtatereadererateeooss 232 D vice Order sig cavcdeawiinedy E E EEA 232 Shortcuts Keyboard amp MIDI Triggers 6 eee eee eee ee eee ee 236 Navigating the Multitrack View ADOUtIMAGES weccccconenndecace enei rn a OE E a E 240 About Blocks sererai gne a a n E EEEE 241 About Session Files s rerien ara A ETE OE EES 241 Navigating the Session Display 1 eee eee eee eee eee eee 241 Inserting Existing Audio Into Your Session 0 e eee 242 Recording New Audio Into Your Session ce cece eee 242 Track Controls s
449. original signal Because echoes picked up by the virtual microphone add to the signal s overall amplitude you should always set Intensity to under 100 to avoid clipping In fact the more echoes there are the lower the Intensity value should be set For example a setting of about 30 would be appropriate for 100 echoes whereas 15 would be better for 1 000 echoes Echoes This is the number of actual echoes to produce To achieve a nice reverberating ambiance effect use at least 10 000 echoes The more echoes that are generated the truer the result will sound but larger numbers of echoes require more processing time 25 000 echoes produce a very realistic result In order to reduce wait time when testing out a virtual chamber s size and overall room sound you may want to generate Q only 100 or so echoes Once you achieve the sound you want you can undo the test effect and increase the number dramatically for the final production A very fast system should be able to generate up to 100 000 echoes depending on the virtual room size and available memory ADOBE AUDITION User Guide Damping Factors Use damping factors to describe the type of virtual room in which the audio is being played These factors can simulate wall coverings floor coverings and other objects in the room that absorb sound Granted in real life various objects absorb different frequencies but in this simulation all frequencies are reflected equally For examp
450. orm which will be placed in the current track e Selected Waves Mono Choose this option to mix all highlighted waveforms in the session to a mono waveform which is put in the active track Note Adobe Audition treats your mixed track like any other open waveform You ll see its name in the Files tab of the Prefer ences menu as well as in the Insert gt Existing File Cue pop up window It can also be sent to Adobe Audition s Edit View for modification Mute Track Checkmark this command to mute the track All blocks within the track are ignored during playback and mixdowns and are displayed as grayed out This command does the same thing as pressing the M button on the track console Solo Track When this command is checkmarked the track is soloed A soloed track has the effect of muting out all other tracks and is used to quickly isolate a track or tracks from the rest of the mix Unlike the Solo Current Track command you can run Solo on multiple tracks to place the track into solo mode This command does the same thing as clicking the S button on the track console You ll need to hold down the Ctrl key while pressing the S button to solo multiple tracks Solo Current Track Run this command to put just the current track into solo mode If any other track in the session window is soloed its solo status will be turned off Arm Track for Record Checking this command gets a track ready for recording This means
451. ormalized scale value that ranges from 1 to I Percentage This display type numerically indicates amplitude on a percentage scale value that ranges from 100 to 100 Decibels This display type numerically indicates amplitude using a dB scale value that ranges from Infinity to Zero Note All of the displays can go to greater values for 32 bit audio if the audio goes above 0dB Toolbars Use this menu to specify which if any groups of icons yowd like to display on Adobe Audition s Edit View toolbar Checkmark the desired icon group s to display If no items are checked the toolbar area will disappear until you check at least one icon group v File v Edit v View v Options Analyze v Generate v Amplitude Delay Effects Directx v Noise Reduction Special Time Pitch v Window Toggles 1 Row Limit v 2Row Limit 3 Row Limit Toolbars Menu ADOBE AUDITION 89 User Guide Options are also provided to limit how many rows of toolbar icons Adobe Audition displays at any one time one row two rows or three rows Status Bar Access the items on the Status Bar submenu to turn on Adobe Audition s status bar which runs along the bottom of the Adobe Audition window as well as decide which information fields you wish displayed there You can also find this menu by right clicking on the status bar To hide the Status Bar right click on it and select the Hide menu option Or uncheck the Show from the View gt St
452. ortions to the original signal Combine Source Left and Right When working with stereo audio there are actually two source signals left and right that can be placed independently This does however require twice as many calculations as a single audio source so you can check this option for faster processing e When this box is checked Adobe Audition sums the left and right channels of a stereo source file before routing to the effects processor e When unchecked the original signal and its respective reverberated signal remain in its own channel If you know that both channels are identical that is if they originated from a monophonic sample you should definitely check this option to minimize processing time Presets Adobe Audition comes with several Reverb presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Reverb setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Make sure that there is enough silence at the end of the waveform for the reverb trails to complete If the reverb abruptly Q cuts off before it fully decays undo the Reverb effect add several seconds of silence using Adobe Audition s Generate gt Silence comma
453. oss in Shift O Adjust Zero Cross out Shift H Adjust Zero Cross left side to the left Shift J Adjust Zero Cross left side to the right Shift K Adjust Zero Cross right side to the left Shift L Adjust Zero Cross right side to the right Shift Find the next beat to the left Shift Find the next beat to the right Anchor the selection to the left when playing Anchor the selection to the right when playing View Menu Shortcuts F12 Toggle between Multitrack View and Edit View Alt 9 Toggle display of Organizer window Alt 8 Toggle display of the Cue List Alt 6 Toggle display of the Sel View controls Alt 3 Toggle display of the Session Properties window Alt 2 Toggle display of the Mixer window Alt 5 Toggle display of the EQ window Alt 4 Toggle display of the Track Properties window Alt 1 Set focus to the main display Alt Set focus to the previous docked window Alt Set focus to the next docked window Alt Page Up Activate the previous floating window Alt Page Down Activate the next floating window Alt Flash the window that s currently in focus Alt Right Arrow Zoom in horizontally ADOBE AUDITION User Guide 349 Keyboard Shortcuts Alt Left Arrow Zoom out horizontally Alt Home Zoom in to the left edge of the selection Alt End Zoom in to the right edge of the selection Alt Up Arrow Zoom in vertically Alt Down Arrow Zoom out
454. ot keep his or her breath steady e Ifthe vibrato rate is set high the result can be very unnatural more like a singer who had too much coffee ADOBE AUDITION 119 User Guide Q With very high settings you can achieve interesting special effects as in the preset Another Dimension Stereo Chorus Mode The Stereo Chorus Mode settings are only active when working with stereo files They determine where the individual voices will be placed in the stereo field as well as how the original stereo signal will be interpreted Average Left amp Right Adobe Audition can either average the original left and right channels or keep them separate in order to preserve any stereo image that may already exist If you leave the box unchecked the stereo image will be preserved when processing a stereo source file For example spatial binaural cues such as those that exist in reverberated audio or live stereo recordings will be preserved Note that there is no need to check this box if the sample was originally monophonic as it will have no result except that if the box is checked Adobe Audition will process the sample more slowly Add Binaural Cues Check this option to add separate delays to the left and right outputs of each voice This can make each voice appear to be coming from a different direction but only when played through headphones If the audio is meant to be played through speakers this option should be turned off In addition when
455. ound as if that audio were played in that cathedral You can generate an impulse like this by going to the cathedral in question standing in the spot where you would like the audio to appear it is coming from and generating a loud impulsive noise like a snap or loud click You can make a stereo recording of this click from any location within the cathedral If you used this recording as an impulse then convolution with it will sound as if the listener were in the exact position of the recording equipment and the audio being convoluted were at the location of the click Note An impulse is the data by which every other sample in your waveform will be multiplied If the impulse is a single sample of a full volume tick then the convolution of that impulse with any audio data will just be that audio data itself If that tick is at half volume then the original audio data will be reproduced at half volume If there are several ticks descending in amplitude over time such as one tick every 100 milliseconds and half as loud as the previous tick then the result of convolution with some audio will be that sound echoed with 100ms between each echo and each echo at half the volume of the previous echo Note To send any portion of unprocessed dry signal back out simply add a full spectrum echo at 0 milliseconds The Left and Right volume percentages will be the resulting volume of the dry signal in the left
456. our cue types Basic Basic Cues are used to mark important sections of the waveform for later reference for example to remind yourself of an editing point They re also used to specify stop and start positions for the Adobe Audition s Play List Beat Beat Cues are just like Basic Cues but they re specifically for marking musical beats If you use the Find Beats and Mark part of the Auto Cue feature Edit gt Auto Cue Adobe Audition will mark each beat with a Beat Cue Track Track Cues are only used for burning CDs They indicate a split in tracks for an audio compact disc Index Index Cues are also just used for CD burning Indexes are markers within a CD track Some CD players offer controls for cueing indexes Also the time between the track marker that begins a track and the first index in that track will show up on the player as negative time All four Cue types can be ranges as well as points although it doesn t really make sense for indexes to be ranges Note Cues are preserved in the waveform when the file is saved but only if the Save extra non audio information box is checked in Adobe Audition s Save Waveform As dialog Creating Cues and Ranges To add a specific point in a waveform say three seconds from the beginning of the waveform to the Cue List left click on the waveform at the exact place where you wish the cue to be Then do one of the following Click on the Add button in the Cue List wind
457. our system not currently utilized by Adobe Audition Use gt gt Press this button to move a selected item from the Unused MIDI Out Devices list to the Device Preference Order list lt lt Remove Click on this button to remove a highlighted item from the Device Preference Order list It will then appear in the Unused MIDI Out Devices list Move Up Pushing this button moves the selected item up in the Device Preference Order list Move Down Pressing this button moves the highlighted item down in the Device Preference Order list Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for MIDI playback in Adobe Audition s Edit View EV appears next to the device s name Just one MIDI Out device can be used in Edit View Properties A press of this button brings up the highlighted item s properties in Adobe Audition s Device Properties dialog 236 CHAPTER 12 Options Menu Edit View MIDI Input Devices Tab Playback Devices Recording Devices MIDI Output Devices MIDI Input Devices MIDI Input devices are not currently used in multitrack Unused MIDI In Devices Multitrack Device Preference Order Use gt gt Prasa OK pare ancel EV This device is to be used in Edit View The MIDI Input Devices tab of the Device Ordering Preference Dialog lik Help Unused Playback Devices The items in this list are the MIDI In devices on your system not
458. ove it down or click on the arrow below the fader for a volume reduction You may also directly specify the track s volume by entering a dB value in the text box above the fader Portion Bar Unless you have a really really large monitor you won t be able to see all of Adobe Audition s available 128 tracks on screen at once Use the portion bar to scroll from tracks 1 to 128 and any point in between Bus Mixer Tab Here are the major components of the Bus Mixer Out Pressing this button shows the Bus Properties dialog Config Click on this button to display the configuration window for the selected bus Along with giving you access to the parameters for each effect you ve added to the bus the configuration window s Mixer pane provides sliders for adjusting the volume of all effects in the bus as well as the bus desired Dry Out level Push the Serial button if you want the effects on the bus to run in order one effect and then the next Click on the Parallel button to feed the track into all the effects separately and then mix the effects back together so the output of one effect doesn t change the input of another effect Clicking on the Rack Setup button brings up Adobe Audition s Bus Properties dialog Pan Controls Two types of pan controls for adjusting the balance of the bus are included The control that looks like a small ball is used to quickly pan the bus hard left or hard right or return the bus to a centered stat
459. ow Press F8 to add a Basic cue Shift F8 to add a Track cue or Ctrl F8 to add an Index cue Right click on the Wave Display and choose Add to Cue List Right click on the Cursor Handle the triangle at the top and bottom of the Wave Display directly over and under the play cursor and choose Insert in Cue List Insert CD Track Marker or Insert CD Index Marker To add a specified range for instance all the audio from two seconds to five seconds as measured from the first part of the waveform just highlight the range in the Wave Display and do one of the following Click on the Add button in the Cue List window Press F8 to add a Basic cue Shift F8 to add a Track cue or Ctrl F8 to add an Index cue Right click on the Wave Display and choose Add to Cue List Right click on the Cursor Handle the triangle at the top and bottom of the Wave Display directly over and under the play cursor and choose Insert in Cue List Insert CD Track Marker or Insert CD Index Marker Q The easiest way to make a range is to highlight a selection in the waveform Then add a cue either through the Cue List or by pushing F8 for a Basic Cue Shift F8 for a Track Cue or Ctrl F8 for an Index Cue Cue Handle Context Menu Right click on a Cue Handle a Cue named triangle at the top and bottom of the Wave Display to display the Cue Handle context menu 82 CHAPTER 7 View Menu Edit View Gue 1 Go To Cue List Change Cue Type gt Make Range
460. ow The Open a Waveform dialog appears allowing you to select one or more audio files for listening or modification This dialog looks and works similarly to a standard Windows Explorer Open window including allowing you to use the Ctrl and Shift keys to select multiple non contiguous and contiguous files respectively but adds useful Adobe Audition specific features No matter which of the wide variety of supported waveform types you load Adobe Audition automatically converts the audio file into an internal temporary waveform for quicker editing and better handling of large files Recent Folders c ldownload ha Look in Sa SFX z Bet m M Show File Information Africanish Thumb Piano way Choral Accent wav l Drums Rocl Windows PCM Ai ane i E Comedy Head Bop wav L Drums Rocl bd Anvil Hits wav Comedy Trumpet wav Drums Syne Bell Tree Up way bd Crate Smash wav Dungeon D Full Size 2662K BirdJapanese Quail way E Crowd wav 4 Exploding v El Bird Loon way LE Cymbal 1 6in wav Explosion 44100 Hiz 16 bit Stereo Bus Pull up way E Cymbal Finger way Forest Rair Time 0 15 457 Cabasa wav Dentist Drill way Glass Smas iaa Car Ford Tempo wav Dinosaurs wav Guitar Ahytl E Chime wav E Drums Rhumba wav L Harp Gliss v gt File name Airplane Pass By way Files of type Windows PCM wav z Cancel
461. ow sizes and positions to Adobe Audition s default arrangement Ctrl key allows dockable windows to dock By default holding down the Ctrl key when moving one of Adobe Audition s dockable windows prevents the window from docking Check this box if yowd prefer to disable this behavior Mouse Wheel e Zoom Factor This is the amount to zoom in when rotating the mouse wheel found on Intellipoint compatible pointing devices Values from 10 to 80 work well The higher the value the further yowll zoom in when you roll the mouse wheel Mouse Cursor Over Display Choose whether you want your mouse pointer to appear as an arrow or as an I beam when it s over the waveform display Edit View Right Clicks These options let you decide the behavior for a right click in the Wave Display of the Edit View 215 216 CHAPTER 12 Options Menu Edit View e Popup Menu When right clicking in the Wave Display a menu will pop up if this option is selected You can then use Shift Left Click to extend a selection e Extend Selection If you check this option right clicking in the Edit View s Wave Display will let you extend the edge of a waveform selection instead of displaying the pop up menu To see the pop up menu hold down the Ctrl key as you right click Default Selection Range This setting refers to the amount of waveform data that automatically gets selected if nothing is already highlighted when you go to apply an effect e View If this
462. p halfway and one of 50 moves it down halfway Calculate Normalization Values When you press the Calculate Now button Adobe Audition scans the selection and automatically adjusts the amplification sliders to the volume level that will normalize the selection to the entered peak level Click on the OK button to apply these adjustments Lock Left Right With a stereo waveform loaded the volume of the left and right channels may be individually adjusted This lets you tweak the stereo balance or create cool panning effects However there are times when you want the amplitude of the left and right channels to be simultaneously lowered or raised Check the Lock Left Right box to make the scroll bars for the left and right channels to work in tandem and move together Uncheck the Lock Left Right box to adjust the channels separately 99 100 CHAPTER 8 Effects Menu Edit View View all Settings in dB When checked amplification values are entered and shown in decibels otherwise they re entered as a percentage of the original waveform Presets Adobe Audition comes with a nice selection of amplification presets including several fades and pans More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the selected amplification setting before you apply it to the waveform The selection is played over and over looped until you press the Stop button Since Adobe Au
463. p the Q scale until yowve achieved the best balance of quality vs processing time Stretching Mode Three Stretching Mode options are provided e Time Stretch preserves pitch Select this option to make the tempo or play speed shorter or longer but keep the pitch the same throughout Lower percentages slow down the tempo when Time Stretch preserves pitch is selected Higher percentages increase the tempo when you choose Time Stretch preserves pitch Note This is the setting a radio or TV production person would use in the process of making a 33 or 28 second commercial exactly 30 seconds Pitch Shift preserves tempo This setting raises or lowers pitch while the tempo or speed of play remains the same Higher percentages lower the pitch when Pitch Shift preserves tempo is selected Lower percentages increase the pitch when you chose Pitch Shift preserves tempo Note This is the setting youd use for making a voice sound deeper or higher while not affecting the original playback speed Try using differing initial and final percentages to raise and lower the pitch without affecting the tempo Resample When you use this setting both the pitch and tempo settings are affected If using percentages above 100 the tempo will slow while at the same time the pitch will lower For percentages of 99 or lower the tempo will speed up and the pitch will increase Pitch and Time settings Set the following options e Splicing Frequency Th
464. played at the beginning and the end of the file To compensate for DC Offset you can choose the DC Bias Adjust setting in Effects gt Amplitude gt Amplify DBL The 64 bit doubles wave format dbl is 8 byte doubles in binary form 8 bytes per sample mono or 16 bytes per sample stereo interleaved Just as raw PCM has no header and is just audio data so does 64 bit doubles format Decibel dB In audio a decibel dB is a logarithmic unit of measurement used for amplitude specifically to compare sound pressure with a reference pressure In digital audio OdBFS is the maximum possible amplitude value as in 256 for 8 bit audio The value in dBFS does not relate directly to the original absolute sound pressure level of the audio measured in dB Many areas of Adobe Audition refer to or can refer to amplitude in decibels Delay A time shifted signal which can be mixed with the original non delayed signal to give it a fuller sound or to create echo effects Adobe Audition offers a variety of Delay Effects such as Reverb Chorus and Echo Destructive Editing Destructive editing means simply that edits cut paste effects etc and changes are applied to the wave file itself so that the original audio data itself changes unlike nondestructive editing For example in destructive editing a change in audio volume would actually alter the amplitude of a wave file In Adobe Audition even destructive edits are not applied directly to the wa
465. plays a small floating window which includes a slider for adjusting the block s overall volume Dragging the slider s scroll control upward raises the block s volume while moving the scroll control downward reduces the volume You may also adjust the block s volume by entering a decibel value in the box above the slider E zj Volume Control ADOBE AUDITION User Guide Note Each track has a global volume setting while each block within the track has an individual volume setting Adjust Wave Pan Use this command to display a small floating window which includes a slider for adjusting the block s overall pan Dragging the slider s scroll control to the right pans the block to the right while moving the scroll control to the left pans the block to left You may also adjust the block s pan by entering a value from 100 hard left to 100 hard right in the box to the right of the slider hE ix 4 z Afs Left Right Pan Control Note Each track has a global pan setting while each block within the track has an individual pan setting Wave Block Properties This command displays Adobe Audition s Wave Block Properties screen which can be used to adjust several of the wave block s parameters This command only appears on the Block Context menu when youve right clicked on a waveform e B Hp Bl Left Pan Right Filename Path ii C IMusic Jingles Jingle way Time Offset Hue 117 0 02 108 g
466. ple to create a 3 1 compressor above 20dB choose Compress from the drop down list enter 3 for 3 1 in the Above line and 20dB for the threshold If you want to expand 2 1 below 20dB as well choose Expand from the drop down list and enter 2 in the first Below line Note Threshold settings must get lower in value as you move down the list Attack Release Tab Specify gain processing and level detection values using the fields in this area of the Dynamic Range Processing effect 105 106 CHAPTER 8 Effects Menu Edit View Dynamic Range Processing E x Graphic Traditional Attack Release Band Limiting Presets Add Del m Gain Processor OTE 72045 7 1 Compressor a Output Gain 0 dB The Gan Proressor 3 1 Compressor lt 1008 erent vein signal 3 1 Compressor gt 30dB Attack Time 1 ms S 3 1 Expander lt 10dB 4 1 Compressor De Esser High De Esser Hard De Esser Light De Esser Medium Release Time 500 ms amplitude detected T Joint Channels r Level Detector Input Gain 0 dB The Level Detector determines the current p 4 1 above 20 dB a fied ime 1 5 waveform input flat below 20 dB ei lle la amplitude which is used Release Time 300 ms as the input side of the dynamics processor C Peak RMS OK I Bypass Close Lookahead Time 3 ms I Noise Gating if expanding more than 50 1 Cancel I Create Envelope Only preview as no
467. ple rate from the list Note that most sound cards support only certain sample rates Certain combinations of sample rate channels and resolution may not be available on your system To see the capabilities of your system check Options gt Settings gt Device Properties Although you can create and edit any sample type with Adobe Audition your sound card may not be capable of playing it properly About Sample Rates During the sampling process an incoming analog signal is sampled at discrete time intervals At each interval this analog signal is momentarily held for observation and thus represents a specific measurable voltage level A mathematical conversion is used to generate a digital series of numbers that represent the signal level at that particular instant in time Once the conversion has been made it can be digitally stored or processed The sampling rate is defined as the number of samples or snapshots that are taken of an audio signal per second Since sampling is tied directly to the component of time a system s sampling rate determines a system s overall bandwidth in other words how many frequencies can be encoded within the audio signal Higher sampling rates generally yield a better quality waveform The most commonly encountered sample rates used for digital audio editing are e 11 025 Hz Poor AM Radio Quality Speech low end multimedia e 22 050 Hz Near FM Radio Quality high end multimedia e 32 000 Hz
468. put value goes to the exact matching output value Adjusting the shape of this line will adjust the input to output assignments The readout below the graph displays the current input and output sample values that are under your mouse pointer Note For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Spline Curves Check this option to generate a smoother best fit curve instead of a straight line between control points on the graph When you use Spline Curves the line won t ordinarily travel directly through the control points rather the points control the shape of this curve To get the curve closer to a control point click to create more control points near the point in question The more control points there are clustered together the closer the spline curve will be to those points Use Spline Curves when you want very smooth curves instead of straight lines with their discontinuities at the control points Presets Adobe Audition comes with several Distortion presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Distortion setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as
469. r preferences Enable Dithering Check this box to activate Dithering uncheck the box to turn Dithering off Note If Dithering isn t enabled Adobe Audition truncates instead This means that bits that aren t used are simply chopped off and discarded This gives a crackly effect that fades in and out on very quiet audio passages Dither Depth bits This sets the bit amount of Dither to be applied Generally values of 0 2 to 0 7 give the best results without adding too much noise Note however that as this value is lowered other unwanted harmonic distortion noise will appear You can usually get away with lower values for the Dither Depth when you use Noise Shaping p d f The probability distribution function controls how the dithered noise is distributed away from the original audio sample value Five p d f types are available from the drop down list Rectangular Triangular Gaussian Shaped Triangular and Shaped Gaussian The Rectangular function means there s an equal chance that the noise value added will lie anywhere between 1 and 1 i e the likelihood of a value of 0 8 being chosen is the same as that of 0 2 or 0 3 or any value between 1 and 1 The Triangular function chooses random numbers that are generally closer to 0 than to the edges 1 or 1 ie the chance of 0 being chosen is twice as great as the chance of choosing 0 5 or 0 5 All dithering distribution functions can linearize the quantizati
470. r you can break up a long music recording into smaller more manageable tracks Save All Run the File gt Save All command to automatically save all open modified waveforms to disk Batch File Convert Adobe Audition s handy Batch File Convert tool allows you to easily change multiple waveforms from one audio format to another such as from wav to mp3 using a four window process 1 Files This window is where you add files to the list of waveforms to be converted Press the Add Files button to bring up the Please Choose the Source Files dialog similar to Adobe Audition s File gt Open dialog to select one or more waveforms Hold down your Ctrl or Shift keys to select non contiguous or contiguous files respectively You can even select an entire folder with the Add Folder button 54 CHAPTER 5 File Menu Edit View Batch File Convert E f 50 files in list Add Files Remove Step 1 Choose source files C Sounds SFx Africanish Thumb Piano way C Sounds SFX irplane Pass By way C Sounds SFX Anvil Hits wav C Sounds SFX Bell Tree Up wav C Sounds SFX Bird Japanese Quail way C Sounds SFX Bird Loon way C Sounds SFX Bus Pull up way C Sounds SFx Cabasa wav C Sounds SFX Car Ford Tempo way C Sounds SFX Chime way C Sounds SFX Choral Accent way C Sounds SFx Comedy Head Bop way C Sounds SFX Comedy Trumpet wav C Sounds SFx Crate Smash way C Sounds SFx Crowd way C Sounds SFX Cymbal
471. r Total Cycles You can either specify how long the graphs should be Period the how fast the cycle should move Frequency how many beats per minute the loop will have Tempo or how many times you want the graph to loop in the given selection Total Cycles Presets Adobe Audition provides several Stereo Field Rotate presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Stereo Field Rotate setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Check the Bypass box to hear the waveform without any changes in stereo field rotation for a quick before and after comparison Automated When using Stereo Field Rotate as a real time effect in Multitrack View it supports parameter automation Check the Automated box in the Multitrack View version of the Stereo Field Rotate dialog to draw the Center Channel Pan using a yellow envelope on waveform blocks Note You must have View gt Show FX Parameter Envelopes in Multitrack View turned on Delay Effects The options in this menu can be used to introduce a series of repeats or delayed echoes of the original input signal at regularly spaced or user defined intervals An audio file or selected
472. r anomalies in the audio data that could be construed as clicks or pops Detection and then replacing or repairing the damaged location Correction If you want to clean up vinyl recordings before transferring them to CDs or another digital medium Click Pop Eliminator is the effect to use It s more accurate than just cutting out the click or replacing the data with a straight line You can correct an entire selection or instantly remove a single click if one is highlighted Click Pop Crackle Eliminator i E x r Detection 4 Sensitivity Discrimination fi 4 J20 Detect Reject Max Threshold 12 dB faa fao Avg Threshold 24 dB fis 28 Min Threshold 50 dB fiz fie IV Second Level Verification IV Detect Big Pops jeo I Pulse Train Verification T Link Channels IZ Multiple Passes 8 IV Smooth Light Crackle r Correction FFT Size jz V Auto Pop Oversamples fiz samples Run Size fi 0 samples Presets _Add _Del Constant Hiss and Crackle Hiss Lots of Clicks Medium Amplitude Audio Old Record Quiet Audio Lower Sensitivity finds more clicks Lower Discrimination fixes more clicks Lower Detection to find more clicks Lower Rejection to fix more clicks Lower Big Pops level to find more Detection levels range from 6 to 60 Rejection levels range from 1 to 100 Corrected 0 Rejected 0 Click Pop Eliminator dialog Q Use a high zoom level to i
473. r any appropriate options for the target format by pressing the Change Options button if available Change Options Press this button to view options and optionally change them for each highlighted sample type setting in the Format Options box Note You would almost always use the Scan List button described below before clicking on Change Options Scan List Pressing the Scan List button causes Adobe Audition to look through all of the files in the Source Files list and examine their sample rate bit depth channels and file type After this is done the options can be set for the output format depending on the properties of the input Disable Undo Check this box to disable the saving of undo information for the duration of the batch run Unless the script was written expecting the Undo function to be enabled this is a completely safe thing to do Plus it speeds up processing since undo information doesn t continually need to be saved on your hard drive Overwrite Existing Files Check or uncheck this box to control overwriting e With this option checked files will always be saved to the Destination folder after performing the script regardless of whether a file of the same name already exists at this location e If this box is unchecked and the destination filename already exists the batch will not even attempt to run the script on the file in question but skip it instead CHAPTER 12 Options Menu Edit View 214 Open Ra
474. r positive values Center Frequency This is the frequency around which the phase will sweep Frequencies closer to the middle of the dynamic range of the selected audio will produce more dramatic results Depth This setting determines the degree of phasing The value is given as a Q value which is a ratio of width to center frequency Greater Depth settings cause the sweep to extend farther away from the center frequency in both directions covering a greater frequency range producing a wider tremolo effect Resonance This is the amount of phase shift that is applied to the signal You can think of it as a strength setting for the phase The value is given as a Q value which is a ratio of width to center frequency Sweeping Rate The Sweeping Rate is the speed at which the filter sweeps around the center frequency covering the dynamic range specified by the Depth setting Values are given in Hertz Hz or cycles per second Period milliseconds and Tempo beats per minute You can adjust the rate with the slider or enter a value directly into one of the text boxes To have the sweep occur in time with a song for instance enter the BPM of the music or a fraction of it Entering 240 for a song with a tempo of 120 would sweep in eighth notes for example ADOBE AUDITION User Guide Stereo Phase Difference This is the degree which the sweep interval is shifted between the channels of a stereo waveform Values farther away from 0 or 36
475. r right hand corner of the dialog This area will also show the number of rejected clicks that would have been corrected if the Second Level Verification box was not enabled Presets Adobe Audition comes with several Click Pop Crackle Eliminator presets More information on presets can be found in the Looking at the Work Area chapter 165 166 CHAPTER 8 Effects Menu Edit View Clip Restoration Adobe Audition s Clip Restoration filter can remove the evil occurrences of clipping from your waveform It does this by actually filling in the clipped segments of the waveform Clip Restoration E a Input Attenuation 0 dB p Clipping Statistics meii fi Z Left Right Minimum Run Size T giuig CE R z e Prete Max Sample ft fo Percent Clipped fox pz OK Presets Add Del Restore Heavily Clipped Close Restore Lightly Clipped c I Restore Normal ancel Help Clip Restoration dialog x didi Clipping is a phenomenon that occurs in digital audio when the amplitude value of a signal exceeds the maximum level that can be represented by the current bit resolution i e 256 steps in 8 bit audio This can happen when your source recording levels are simply too high Clipping causes the signal to distort and appears in the waveform display as a chopping off of the top or bottom of the waveform The audible result is a static like distortion Note Don t use DC Bias Adjust on any audio you wish
476. rack environment placing it into an adjacent to the original in a different track This way it will simultaneously playback both original file and the effected one 4 You can then vary the effected waveform s and the original s volume and pan envelopes to bring the wet dry in and out or pan right and left Repeat this operation for other effects to have separate control over a number of effects one for Flange one for Reverb etc 310 CHAPTER 16 Edit Menu Multitrack View Mute Blocks This command mutes or unmutes the selected block s This command is separate from Track Muting pressing the Mute button in the Track Console area which disables all blocks within a track Muted blocks are ignored during playback and mixdowns and are displayed as grayed out Lock in Time Lock In Time locks selected blocks to their current time location in the multitrack session Locking a block is useful when you ve decided upon its position in time and don t want to accidentally move the block when right clicking on it Locked blocks are identified by an overlaid graphic of a circled padlock While a block which has been locked can t be moved in time left or right it may be vertically repositioned allowing you to move it between tracks To unlock a block simply select it and choose Lock in Time to free it for horizontal movement Lock for Play Only This command marks the selected block s as play only Lock for Play
477. rack will begin recording Note The Record Enable button is available in the Vol EQ and Bus areas Solo Button This is the button with the S on it Pressing it puts the track into Solo mode meaning that the output of all other tracks will be muted so that you can hear the track by itself Multiple tracks may be soloed by pushing down their S buttons while holding down the Ctrl key Note The Solo button is available in the Vol EQ and Bus areas Mute Button Clicking on the button with the M on it mutes the track which means that the track will no longer be heard in the mix Multiple tracks may be muted by pushing their M buttons Note The Mute button is available in the Vol EQ and Bus areas Track Volume Field This field which has a V followed by a number displays the volume of the track in dB By default it s set to OdB but you can adjust the track volume from 120 dB to 32 dB by left clicking the field and sliding your mouse vertically or horizontally The dB number changes as you slide Note The Track Volume Field only appears in the Vol area Output Button Pressing the Output Button which is labeled Out 1 by default brings up Adobe Audition s Playback Devices dialog which allows you to specify the track s output device or bus The text on the button changes to reflect the output device or bus chosen Note The Output Button is found in both the Vol and Bus areas Track Pa
478. ral view the area will not have any activity in the top 3 4ths of the display After the noise floor has been identified you may need to skew the graph on the left hand side representing the lower frequencies downward some so as to make the graph as flat as possible If music was present at any frequency the dots on the graph around that frequency will be higher than they should be and should be moved down Drag Points Enter the number of drag points also known as control points you want Get Noise Floor to add to the Hiss Reduction graph Reset Hi Med Low These three Reset buttons will clear the noise floor graph Press Hi to assume the noise floor is at 50dB if hiss is very loud Press Med to set the floor to 70dB average hiss or Low to set the floor to 90dB if there isnt much hiss at all After pressing a Reset button fine tune the noise floor setting using the Noise Floor Adjust slider until the appropriate amount of hiss reduction and quality level is achieved For quick general purpose hiss reduction a complete noise floor graph isn t always necessary In many cases you can Q simply reset the graph to an even level and manipulate the Noise Floor Adjust slider Noise Floor Adjust Use this slider to specify the level of the noise floor e The more the slider moves to the left the lower the noise floor will be up to 40 db e The more the slider moves to the right the higher the noise floor will be up to 40 db
479. rameters for Adobe Audition s Multitrack View ADOBE AUDITION User Guide Settings xi General System Colors Display Data Multitrack SMPTE r Play Record m Merging Playback Buffer Size fag v i e We E seconds IV Delete old takes after merging Crossfade Time 30 ms Playback Buffers fio Defaults Recording Buffer Size l2 seconds Track Record 16 bit Mono Recording Buffers fio 32 bit Stereo Background Mixing Priority Mixing C 16 bit 32 bi Lower Higher Priority 2 Pre Mixing 16 bit 32 bit Open Order Play Rec C Rec Play Panning Mode L R Cut flog Start Order Play Rec Rec Play Equal power Sine piles J Auto Zero Cross Edits 0K G 16 bit J Smooth auto scrolling during playback I Correct for Start Syne in Recordings Help Ooms Dithering Options I Correct for Drift in Recordings Cancel The Multitrack Tab of the Settings Dialog Play Record Set the following Playback Buffer Size This is the buffer size measured in seconds to be used when sending data to your sound card when playing back a multitrack session Different sound card drivers can require different memory buffer size settings Adobe Audition s default settings should work fine for most sound cards If you hear choppiness skips or dropouts in multitrack playback you can try to remedy it by adjusting the buffer size used Choppiness in multitrack playback can also be attri
480. range can be delayed in any of the following ways in any of the following ways in any of the following ways Chorus The Chorus effect adds richness to a sound by making it sound as though several voices or instruments are being played at once Chorus is a great way to add a degree of presence to an existing track Use it to give a stereo effect to a mono sample where left and right channels are identical or to add harmony or thickness to a vocal track You can also use chorusing to create some truly out of this world special effects ADOBE AUDITION User Guide Coras ij x m Chorus Characteristics Thickness 6 Voices Presets _Add Del Max Delay Ki l feo ms Mise gn Delay Rate _ 2 SE iad eo Feedback oiler x Smead Fem eed yira Denth Aj m a a Quadra Chorus Vibrato Rate 4 _ gt 5 04 He Quartet Stereo Chorus Mode JT Highest Quality but slow I Average Left amp Right Add Binaural Cues rE Field r Wide r m 7 Dutput Cancel Dyou _ gt i fiat x F py ony E vet K E El 435 Preview Help Chorus dialog Adobe Audition uses a direct simulation method of achieving the chorus effect which means that each voice or layer is made to sound distinct from the original by slightly varying the timing intonation and vibrato You can use the Feedback setting to add extra detail to the result Q You ll get better results if you convert mo
481. re by not repairing clicks when there really arent any Q Use values of 20 to 40 if there are relatively few clicks in the audio Go as low as 4 if there are constant clicks Find Threshold Levels Only This function will automatically fill in the Max Maximum Avg Average and Min Minimum Threshold level settings Use this button to automatically set the threshold levels before manually adjusting the Max Threshold and Min Threshold Detect and Reject values It s a good idea to settle on Max and Min settings first because once they re in place they usually don t need to be adjusted much After the Max Threshold and Min Threshold values have been set enter a figure for the Avg Threshold level of about three quarters the way up between the Min Threshold and Max Threshold settings for example Max Threshold of 30 Min Threshold of 10 and then about 25 for Avg Threshold Once you ve auditioned a small piece of repaired audio you can go back and adjust the settings accordingly For example if a quiet part still has a lot of clicks lower the Min Thresholds value a bit If a loud piece still has clicks lower the Avg or Max Threshold settings The loud average and quiet portions of the audio are handled differently based on the detection and rejection settings ADOBE AUDITION 163 User Guide Max Avg and Min Threshold There are three definable levels Max Avg Min given in dB for which you can specify unique detection and r
482. re what the actual levels will be for your exported wav or wma files from the session The overall 6 channel level can be attenuated by the Master Level slider beneath the meters ADOBE AUDITION 337 User Guide Master Level Slider Falieiiininieaen haere Master Level 30 20 10 0 10 dB Master Level Slider The Master Level slider will affect the audible level of your preview playback however this slider is primarily offered to adjust the amplitude of the exported or encoded files Use this slider and reference the meters to optimize the overall peak amplitude of the 5 1 channel mix so that none of the channels are clipping Preview Device Selection Preview Device Format M Audio Delta 1010LT Multichannel 16 bit a Preview Device Selection The Preview Device field displays the currently selected device that Adobe Audition will route its 6 channel output to This field will also show the currently selected bit rate for preview playback To make changes to these device and bit selections press the Change button to the right of this field This will launch the Multichannel Preview Options dialog Note For information about device requirements please see Multichannel Encoder Requirements on page 329 Multichannel Preview Options Multichannel Output Device M Audio Delta 1010LT Multichannel x Preview Format 16 bit 2 byte packed integer x Preview Buffer Size lower y 0 stable
483. rect X 8 0 or later installed If your PC does not meet these requirements then you may receive a warning dialog and your Play Track and Play All buttons will not be accessible To be able to Export and Encode your project to a 6 channel Windows Media file you must have the Windows Media 9 runtime installed If you have an earlier Windows Media version on your PC the Encode to WMA9 option will not be available The latest Direct X and Windows Media Updates are available on the Microsoft website Elements of the Multichannel Encoder The Multichannel Encoder dialog box contains several elements which are described in detail below 330 CHAPTER 20 Multichannel Encoder Multichannel Encoder Track List Surround Panner Track Options x SlickFunkDrum Panning Assignment K MoogBass Surround panner stereo source v X MoogLead E MoogHarmony Sub Channel Level K Announcer 0 K FunkWah Vocode 50 100 X VocodeStinger Center Channel Level X Orch AscendMoog _ a 60 100 Track Level ae 0 50 1 IV Pan Envelopes I Splines Clear All Export Preview Device Format M Audio Delta 1010LT Multichannel 32 bit float A Close Preview Volume Cm gt 100 Master Level 4 Help 0O 2 4 e 1 0 0 Multichannel Encoder dialog box Track List At the top left of the dialog is the track list This list will show all the tracks and buses in
484. region Waveforms to crossfade between should be positioned in different tracks or can be in the same track in a back to back manner adjacent if possible To crossfade make a selection with your mouse and include in it the beginning and ending sections of any waveforms you wish to include in the crossfade The highlight should extend a bit beyond the end of the waveform s to fade from and should start a bit before the beginning of the waveform s to fade to Or if Edit gt Snapping gt Snap to Blocks is enabled the highlight will easily adjust itself to the beginnings and endings of the waveforms You can also adjust the highlight by holding the Shift key down when doing a left click near the edge of the selection After establishing a highlighted area you need to select the waveforms to include in the crossfade by holding down the Ctrl key and left clicking on the desired wave blocks Next choose Edit gt Crossfade or Crossfade from the right click menu and the type of crossfade you want to do to crossfade between the selected waveforms Three main types of crossfades are available Choose Linear for an even grade and Sinusoidal for a curved sine like slope to the fade Logarithmic will fade the amplitude of a signal at a constant rate producing a steeper slope at one end of the fade depending on whether you are fading in or out Note The Crossfade toolbar button uses Linear fades by default Choose Crossfade from the Edit or righ
485. rera etia tetas tease ol ieee huteanteans A 243 SESSION DISPlaY sc auisiswecaestei mage aster ETE cesarean 248 Track Context Menu eee cece eee t ninr EAEN SEn 249 Block Context Menu oo eee e cece cece eee teen tee eeeenes 258 Abo t BUSSES icc acsiisa a ToN DE LAENE keen amapenmnaene ons 269 About Real Time Effects 60 cece cece ccc ence e eee n ene eeenes 269 x CONTENTS Chapter 14 Chapter 15 File Menu Multitrack View ABOUUSESSIONS seansam anann pene des ens EAEE yas 273 NEW SESSION fesse icnioa ecards Gi eaedncecien aneis aaa aii aac 273 OPeEN SeSsION erinorm ana Roden sia sad deadaaasestaee nes 274 APPENATOSESSION cise sssnesscnceeacaednsdeuaesasecndaed ss 274 Close Session ssinescsgsedemeranedeveams tenn pegeadese anon a 275 Close Session and Waveforms see cece cece e eee eee eens 275 Close Only Non Session Waveforms eee eens eee eee 275 Open Waveform casscrseeicisecsaeiarnsaciaesnameee tian wees 275 Sa V SESSION seater a n A tages sagen E T R 275 Save SESSION AS porria A E aE 276 Save MiIXdOWMAS areias Shines tena aE a a 277 Save Mixdown To Video AS oe eee e eee cence een tence een ees 279 Save ANE merran een E a E T Venere r N E S 279 Default Sessiony acris op enn r E EAA ERA ENNA 279 Free Up Space in Temp Files 2 cece eee e eee eee eee e ee 279 MRU LISE i2eccvydvawiigrenysiiivans A EE rsa eoey 280 Exit eesosast a a RA E E E 280 View Menu Multitrack View Edit Waveform View
486. rmat yyyy mm dd year month day using 0 as a place holder in single digit values For example if the date the original recording was made was June 8 2001 then it needs to be written as 2001 06 08 e Fill Fields Automatically If the Fill Fields Automatically box is checked the Creation Date fields is automatically filled by Adobe Audition If you don t want this extra information to be tagged with your wave files simply un check this box 92 CHAPTER 7 View Menu Edit View e Comments This area is for making any comments you wish Feel free to include the name of any music sound effects or enhancements you made to any preexisting waves so that the editing history can be tracked Don t use line returns i e don t hit the Enter key after completing a line but end each sentence with a period Sample entry Music came from Music Library Disc 17 cut 3 while the doorbell SFX came from Sound Effects Library Disc 3 cut 57 Compression and reverb were added using Adobe Audition e Copy Enter the copy for the production here You can type in the copy directly or use Ctrl V to paste in text from a Windows based program such as a word processor or text editor via the Windows clipboard Selecting the MP3 ID3 Tag item from the Text Field drop down menu activates these text fields allowing you to tag the loaded MP3 file with ID3v1 1 compatible data e Song Title The title of the musical composition up to 30 charac
487. roducing a steeper slope at one end of the fade depending on whether you are fading in or out DC Bias Adjust Some recording hardware may introduce a DC bias which results in the recorded waveform appearing to be above or below the normal center line in the Wave Display Many waveform transformations require that the signal be centered and checking the DC Bias Adjust box ensures new recordings are perfectly centered Choose the Absolute option to tell Adobe Audition the final DC value you want as entered as a percentage in the L and R boxes The main use for the option is to cancel out a DC that s not constant throughout the waveform A super low cut filter is initiated to achieve this Keep in mind that the actual amount adjusted varies with each sample For instance if you have a significant DC change in one area of the wave at that boundary where the DC changes the Absolute option will make all parts the same However there will be a dip or peak right at the boundary point Select the Differential option to analyze the entire selected area to get the DC offset and adjust every sample by the inverse of that exact amount The Find Zero Now button will be enabled Press it to scan the waveform and automatically enter the correct L and R percentages To introduce a DC Bias by skewing the entire selected waveform above or below the center line enter a positive or negative percentage For example a setting of 50 moves the entire waveform u
488. rom shortest to longest You may also select and slide a column header horizontally to rearrange the sequence of column headers Edit Cue Info Button When you press this button fields used to modify the information in the highlighted cue appear Begin the cue s starting time End the cue s ending time Length the cue s length Label the cue s name and Desc the cue s description Left click on the desired field to make it active and then type in the new time or name You can also use the drop down list to pick the type of cue Basic Beat Track or Index To hide the cue info fields press the Edit Cue Info button once more Auto Play If the Auto Play button is depressed the cue will automatically play whenever the cue is selected in the Cue List To deactivate the automatic play mode click on the Auto Play button to release it Add Press this button to add a Basic cue either an exact point or a specified range to the Cue List You can also press F8 to add a Basic cue Shift F8 to add a Track cue or Ctrl F8 to add an Index cue to the Cue List ADOBE AUDITION 83 User Guide Del This button deletes all of the highlighted items in the Cue List Just as in a Windows Explorer window you can depress your Shift key as you click to select and highlight multiple contiguous files or hold down the Ctrl key as you click to select and highlight multiple non contiguous files Merge Click on the Merge button to combine highli
489. round The mix progress meter constantly shows how far along Adobe Audition in the process of mixing your session 248 CHAPTER 13 Navigating the Multitrack View However you need not wait for the meter to reach completion entirely before beginning playback As stated above Adobe Audition continuously mixes and will continue to do so while playing so you can safely begin playback when the mix progress meter is about halfway full In general if the background mix isn t sufficiently completed you ll hear a break up or skipping when playing back the mix If that happens just wait a few seconds Adobe Audition will usually catch up very quickly and you can commence playback again Of course Adobe Audition gives you some control over the background mixing process You can temporarily disable background mixing by selecting Pause Background Mixing from the Options menu If youre finding that background mixing isn t fast enough you can increase its priority by going to Options gt Settings clicking on the Multitrack tab and adjusting the Background Mixing Priority Level Session Display The Session Display is the part of Adobe Audition s Multitrack View that lies to the right of the Track Controls It contains all track windows the Horizontal Portion Bar the Horizontal Ruler and the Track Display window m a Horizontal portion bar D 1 Horizontal ruler z e Aaa a aa a a LL hms 0 050 0 10 0 015 0 0 2 Vertical ru
490. roup Waveform Normalize allows you to normalize the volume of multiple open waveforms using a three screen batch process When you normalize a waveform the loudest part of the waveform is set to a specified amplitude thereby raising or lowering all other parts of the same waveform by the same amount If the volume is raised as part of the normalization process Adobe Audition can apply limiting to prevent clipping If youre getting ready to master an audio CD using Group Waveform Normalize is a great way to make sure that all tracks on the CD have a consistent volume 70 CHAPTER 6 Edit Menu Edit View 1 Choose Files Tab A list of all the currently open waveforms is shown Choose the ones you wish to normalize by using the Ctrl and Shift keys to select multiple non contiguous and contiguous files respectively This is similar to the way you pick multiple files in Windows Explorer You can also just click and drag to highlight a group of waves Step 1 Choose source files Please choose all the files you wish to normalize to the same loudness level Beethoven s Symphony No 9 Scherzo wma Close 1 Choose Files 2 Analyze Loudness 3 Normalize Help The Choose Files Tab of the Group Waveform Normalization Dialog 2 Analyze Loudness Tab The waveforms you ve chosen to normalize appear in this list Press the Scan for Statistical Information button to have Adobe Audition analyze the current amplitude statistics for each
491. rt another one you ll be prompted to close the currently open video file Pe 316 CHAPTER 17 Insert Menu Multitrack View Audio from Video File Insert the soundtrack from one or more supported video files to the session window using this command which displays Adobe Audition s Choose a video file dialog This dialog is virtually identical to a normal Windows Open dialog Note You re limited to inserting audio from just one video file at a time but feel free to re run this command as often as need to insert addition video soundtracks into your session Currently Open Waveform List Entries for up to 10 open waveforms are listed Note If you have more than 10 waveforms active in Edit View only the last 10 opened will appear on the Multitrack View s Insert menu Think of this section of the Insert menu as a MRU Most Recently Used list of open waveforms If you need to access another open waveform whose name isn t listed use the Switch To command or Adobe Audition s Organizer window File Cue List This command activates Adobe Audition s Insert Into Multitrack dialog This window lists all of the files that are currently open in Edit View If a file has cues in it a plus sign will appear next to its name to let you expand that file out and see all the cue ranges in it This allows you to insert either the whole file or expand it and grab one of the cue ranges directly Insert Into Multitrack E3
492. rt before saving Adobe Audition also warns you if youre trying to save a waveform to a compressed lossy format and suggests that you keep a backup of your original file if you wish to preserve full audio fidelity If you don t want to see this dialog box again check the Don t display this message in the future box Save extra non audio information Uncheck this box if you don t want to save header fields such as copyright author information and cue marks If you plan to burn the waveform to compact disc using another program unchecking the box is highly recommended Some CD recording applications interpret non audio information incorrectly and will place an unpleasant burst of noise as the beginning of each CD track Options Most audio file formats support various options See the Waveform File Formats chapter for more infor mation Press the Options button to bring up a window to select the desired settings If the format doesn t have any options the Options button is disabled grayed out Save Selection File gt Save Selection works similarly to the File gt Save As command except it allows you to save just the highlighted selection of a waveform to its own file This feature is very useful for saving small segments of a larger file For instance should you wish to record a number of z samples from a friend s sampler you could record them as a single continuous file and then split them into their own waveforms O
493. rther down the View menu Note Volume Envelopes are nondestructive meaning they don t affect the original audio file in any way Therefore if you return to the Edit View or go to another application and play a sound file that you ve applied an envelope to you won t hear the envelope volume changes The only time this envelope is applied is within Adobe Audition s Multitrack View Note Volume envelopes can also be applied to MIDI blocks and edited like they are on audio blocks However they are used to change the velocity at which the notes are played back To help you understand think of a piano it plays loudly when you bang on the keys and softly when you lightly touch them Many MIDI synthesizers are programmed to respond to velocity so that they sound more expressive when played and the most common way is by changing the volume of a sound However some synthesizers are programmed so that velocity changes the pitch or the harmonic content of the sound instead if you find that your MIDI files sound a little stranger than normal when using volume envelopes on your MIDI blocks this may be why Show Wet Dry Mix Envelopes This command enables the display of Wet Dry Mix Envelopes which will appear on any block that is in a track that has real time effects These envelopes control the wet dry mix of the effects over time When the envelope is at the top the signal coming out of that track is 100 wet all effects in other words I
494. s Adobe Audition s click repair algorithm may not work well on two consecutive clicks that are extremely close together The Run Size setting which can go from 0 to 1000 determines that any two clicks closer together than the number of samples specified in the Run Size box will be treated as one A good starting point would be to set this value somewhere around 25 or half the FFT size if you don t have the Auto box next to FFT Size checked If the Run Size value is too large over 100 or so then the corrections may become more noticeable as very large blocks of data are repaired at once If you set the Run Size too small then clicks that are very close together may not be repaired completely on the first pass Fill Single Click Now You can correct a single click by highlighting it and pushing the Fill Single Click Now button This is the manual override for click restoration If the Auto box is checked next to FFT Size then an appropriate FFT size will be used for the restoration based on the size of the area being restored Otherwise settings of 128 to 256 work very well when filling in single clicks Once a single click is filled the F3 Repeat Last Command key key will be set to repeat this action So to fill in another single click in highlighted audio just press F3 Previously Corrected Rejected After repairing a click re enter the Click Pop Crackle Eliminator window to see the number of previously corrected clicks in the lowe
495. s It does this by adding multiple delays with a medium amount of depth and a mild amount of feedback Click Track An audio track comprised of clicks that occur on the beat like a metronome They are often used at the beginning of a session as timing information for musicians and then removed from the session before production is complete Clipping When the amplitude of a signal exceeds the maximum level for the available current conditions for example 256 in 8 bit audio a process known as clipping occurs Clipping causes the signal to distort and appears in the display as a chopping off of the top of the waveform If you experience clipping try lowering recording input or source output levels CODEC Stands for Coder Decoder It s an abbreviation used often when speaking of multimedia compression modules such as ACM modules often called ACM CODECS MPEG compressors QuickTime AVI and the combined A D D A modules on some soundcards Compressor Compressors reduce the dynamic range of an audio signal In the real world it s generally an amplifier with two gain levels the gain is unity for input signal levels below a certain threshold and less than unity for signals with levels above the threshold For example compressors can be used to eliminate the variations in the peaks of an electric bass signal by clamping them to a constant level thus providing an even solid bass line Compressors can also be useful in compensating for
496. s so the actual noise can be detected and removed with more precision However with too many bands time slurring occurs which can make the result sound reverberant or echoey with pre and post echoes So the tradeoff is frequency resolution vs time resolution with lower FFT sizes giving better time resolution and higher FFT sizes giving better frequency resolution Good settings for FFT Size range from 4096 to 12000 e Remove Noise Keep Only Noise For normal operation choose Remove Noise If for some reason you want to extract the noise for other purposes choose Keep Only Noise All the audio will be removed leaving only noise e Reduce by Lowering this value measured in dB may help reduce some bubbly background effects Settings between 5dB and 100dB are recommended e Precision Factor This value affects distortions in amplitude With values of 3 or less the FFT is performed in giant blocks that aren t very continuous between the blocks This means that after each block is processed there can be a drop or spike in volume at the interval between blocks Values of 5 and up work best Beyond 10 or so there is no noticeable change in quality only in the time it takes to compute Try using 5 or 7 as odd numbers are best for symmetric properties e Smoothing Amount This takes into account the standard deviation or variance of the noise signal at each band Bands that vary greatly when analyzed such as white noise will be smoo
497. s wav Remove C Sounds SFX Bell Tree Up wav C Sounds SFX BirdJapanese Quail wav C Sounds SFX Bird Loon wav C Sounds SFX Bus Pull up way r Destination Folder fe Muic Browse Output Filename Template mp3 Output Eomat EERSTE se a Format Options Click Scan List to get options list Click Change Options to view options for this sample type setting m Assumptions Batch Process Dialog Note In order for a single script to be run on a batch of files the script must have been recorded in the Script Works on Current Wave mode That is before the script was recorded there must have been an open waveform perhaps blank and no highlighted selection The Batch Run button will only be selectable if a script of this type is selected from the scripts list Here are the major components of the Batch Process dialog Source Files This is the list of files you want to include in the batch for processing If desired the waveforms can be different formats Add Files This button brings up Adobe Audition s Please choose the source files dialog allowing you to add files or folders to the batch for processing To add multiple files or folders to the list hold down on the SHIFT key for contiguous selections or the CTRL key for noncontiguous selections Remove This button removes any selected files from the Source Files list To remove multiple files from the list hold down on the SHIFT key for
498. s Adobe Audition to directly encode save and decode open mp3 files When a file is saved as MP3 it s encoded and compressed as specified by the MP3 settings As an mp3 file is opened it s decompressed into Adobe Audition s uncompressed internal format This allows you to save the mp3 file back to disk as any file format including as a standard wav file Check your online documentation and help for details on the options for saving mp3PRO Note The mp3PRO filter encapsulates standard mp3 file support which means that you can save standard non pro mp3s by unselecting the pro setting in the mp3 options Supply of this product does not convey a license nor imply any right to distribute content created with this product in revenue generating broadcast systems terrestrial satellite cable and or other distribution channels streaming applications via Internet intranets and or other networks other content distribution systems pay audio or audio on demand applications and the like or on physical media compact discs digital versatile discs semiconductor chips hard drives memory cards and the like An independent license for such use is required For details please visit http mp3licensing com Next Sun au snd This format is the standard found on NeXT and Sun computers and has many data types Adobe Audition supports the CCITT mu Law A Law G 721 ADPCM and linear PCM data variants Like Windows WAV and AIFF
499. s Bar Right click on the Status Bar to show a menu of display options which are described below Check the items you wish to display uncheck the items you don t want to see You may also access Status Bar options from Adobe Audition s View menu Data Under Cursor This shows useful information such as the channel if a current waveform is stereo the amplitude measured in dB and the time hours minutes seconds hundredths of seconds from the beginning of the audio file This data is computed at the precise point where your mouse cursor is placed within the wave display and changes dynamically when the mouse cursor is moved Example If you see R 15 2dB 0 00 242 in the status bar when in Edit View this means that your cursor is over the right channel at 0 242 seconds into the waveform and the amplitude at that precise point is 15 2 decibels In the Multitrack View you ll see even more beneficial data such as Pan and Volume envelope positions envelope positions for effects envelopes dynamic effect settings and the current position of the wave block as you drag it around Sample Format When this item is checked sample information about the currently loaded waveform is displayed For instance a 44 100 kHz 16 bit stereo file shows up as 44100 16 bit stereo File Size K This value represents how large the active audio file is measured in kilobytes If you see 308 K in the status bar then the current wa
500. s aaa pe ddetnseserinds aioe denn EEES 306 CHOSSTACE csccisseis da aipie is nahh Selb E A TT 307 LOOP DUPIICAtE s iis cece adnnes Gans bie tenons ma aeemaasane eae 308 Convertto Unique Copy siscccicciiccidesecsscdanesaewadecess 309 Mute Blocks scscisdces debseviae he vad OEE E EAE 310 LOCKINTIME 42 Siendc02 cyan nae saee tees T ERE AE EAN 310 xi xii CONTENTS Chapter 17 Chapter 18 Chapter 19 Lock for Play Only Split conaduduacmighanvetosaeiaes Merge Rejoin Split Aligi Left accsncresevevatee taney Align Right e eee eee Adjust Boundaries ATI adeevadeeasieaaesoueeaiees Full gicacedoet uenea Eae Remove Blocks 4 Destroy Blocks remove amp close Select All Blocks Select All Blocks inTrackN Insert Delete Time Group Waveform Normalize SNAPPING vadesecsansseetancens Refresh NOW ee eee eee e eee Check For Hidden Blocks Insert Menu Multitrack View Wave from File 005 MIDI from Fil 0 Video from File 00005 Audio from Video File Currently Open Waveform List File CuS List dcgcicedieesengedee Effects Menu Multitrack View Envelope Follower Frequency Band Splitter VOCOdEr aisiaren eea Options Menu Multitrack View Loop Mod seirsisieryireneiaas Monitor Record Level s
501. s aelnad aces adescue amend earaaahegageares 52 SAVEASS osc tescscdiaend decsuisslecels edisinawtas sa Reesa AS 52 Save Selection dciusasviadschseasewtondads diaomeandvadenee ages 53 Save All ronderenner ansacenegenc Whe TAEA ese radan ota 53 Batch File Convert c cicissideseejavesiesncsheehacacoes AEEA 53 Flush Virtual File sasira ea a aE a a a 57 Free Up Space in Temp Files 0 cece cece cece ence ence e eee 57 MRBUILISt accwdewos sudan denn thongs sted EEEN 59 Exit ianen mem mnceme nee te aeedeneees we A 59 Edit Menu Edit View Undo etd deSoesnctisehadtaenavicen Uordeeee ease sogmeteamanen 61 Enable Undo Red sororis neronen T aE oaGead Caen en een a 61 Repeat Last Command cece e eee eee een n eee nee enene 62 Set Current Clipboard s scevoesaenavaad ee ed ANENE KAA 62 CODY sviitae ve hater easel eats eae ta eae ete mere a dela 62 GUUS ike dnladenk eevee A Gadus take E AES MAAe ee aeaed 62 PASt elorrio ri aE vies Soe ohdaw ectaw ey esta RTE blades 62 Past tO N W i iscithisicsee nasinaendiss assis ENAERE ENE EEEa 62 Mix Past irese aelscatdadalies gaat aE EAE EEE nai ie fae 63 Copy to NEw 2 civacnecassapiacsessemiae ede mee asemmedemasnes 64 lns rtin Multitrack 4 c csadcc tin nunni oE EERENS SNNN ERES 64 vi CONTENTS Chapter 7 Chapter 8 Insert Play List in Multitrack 20 0 eee cece cece eee eee eee 64 Select Entire Wave supersit rotori opinan RE ARARE D 65 Delete Selection sorsspovsiodirerie tida aana
502. s default envelope style which has straight lines between the envelope s control points About Busses Adobe Audition gives you the ability to organize multiple tracks into busses which is especially useful for adding one or more real time effects to and or adjusting the gain for a common group of tracks The dictionary states that electroni cally speaking a bus is an electrical conductor that makes a common connection between several circuits In the case of Adobe Audition s Multitrack View a bus lets you make a common connection between several tracks Sometimes it s more convenient to group two or more tracks together into a bus in order to apply real time effects or give the tracks the same volume pan and equalization properties Let s say youre recording a song that has four tracks of background vocals You want to apply a bit of compression to those tracks to give them a more punchy sound plus add some reverb Instead of processing each track separately which might have a significant drain on your computer s processing speed you can add the four tracks to their own bus and then apply the reverb to the bus Up to 26 buses may be created How to assign tracks to a bus Adobe Audition provides several ways of assigning tracks to busses but here s the easiest 1 Press the Output button in the Track Controls The button says Out 1 by default This will display the Playback Devices dialog for the track 2 In
503. s hard left 100 is hard right in the box to the right to set a pan level for the waveform block Note This pan setting is independent of the track s overall pan Track pan is set in the Track Info dialog Filename Path The waveform s filename is displayed in an editable text box You can change this name to whatever you want which Adobe Audition will use to identify the waveform in Multitrack View For instance lornascratch vocal wav could be renamed to the friendlier looking Lorna s Scratch Vocal The waveform s true filename isn t changed and is shown along with its path in the non editable space below Time Offset This box displays the offset or beginning time for the waveform block You can enter a value directly to move the block to a specific time location The time format used is that which is currently selected in View gt Display Time Format Hue This sets the color of the waveform block Use the slider or enter the hue value directly in the field provided Any value of 0 to 255 is valid Roughly 0 is red 25 is brown 42 is yellow 90 is green 120 is aqua 140 is blue 185 is violet 205 is purple and 220 is fuchsia 303 304 CHAPTER 16 Edit Menu Multitrack View Mute Check this box to mute or disable the selected waveform block The wave block will become gray in color indicating that it won t play until unmuted Remove this check to unmute Note This Mute setting is independent of the tr
504. s more appealing It is neither random nor predictable It has a fractal like nature when viewed When zoomed in the pattern looks identical to when zoomed out except at a lower amplitude e White noise has a spectral frequency of 1 In other words equal proportions of all frequencies are present Because the human ear is more susceptible to high frequencies white noise sounds very hissy Adobe Audition generates white noise by choosing random values for each sample Style Choose among the following styles e Spatial Stereo If you choose this option Adobe Audition generates Spatial Stereo noise by using three unique noise sources and spatially encodes them to appear as if one is coming from the left the other from the center and the last from the right When you listen to it with stereo headphones your mind perceives sound coming from all around not just in the center To specify the distance from center of the left and right noise sources enter a delay value in micro seconds About 900 to 1000 microseconds correspond to the maximum delay perceivable A delay of zero is identical to monaural noise where left and right channels are the same e Independent Channels Select this option to tell Adobe Audition to generate noise by using two unique noise sources one for each channel The left channel s noise is completely independent of the noise of the right channel 192 CHAPTER 9 Generate Menu Edit View e Mono If this option
505. s output to Bus A to have all be effected by this Reverb But for track 1 you might wish to achieve a different surround panning effect where a non effected track signal is panned to the front channels while the effected bus output signal is sent only to the rear surround channels If you set the track 1 bus wet and dry values each to a value such as 50 then you will be able to pan these two signals separately Once these settings are all made within the multitrack session launch the Multichannel Encoder dialog and you will then see that both Track 1 and Bus A are available as selectable entities that can be panned individually This type of routing can be very useful for adding ambience and dimension to your multichannel mixes To perform panning adjustments on any track select any one track in the list by clicking on the track name so that it becomes highlighted For example the VocodeStinger track is selected in the following example Track List X SlickFunkDrum K MoogBass K MoogLead K MoogHarmony K Announcer KX FunkWah Vocode X VocodeStinger E Orch AscendMoog Track List Surround Panner A B Cc D E F G Surround Panner options A Left Surround B Front Left C Center D Front Right E Right Surround F Low Frequency Effects Sub Bass G Panner Point 332 CHAPTER 20 Multichannel Encoder The Surround Panner allows you to position the selected track anywhere in the main speaker sound field by le
506. s this command to bring up a tabbed window that lets you embed text and graphics specify certain parameters and get information about the active waveform Edit Sample Directly If you Zoom In far enough in Edit View you can modify each sample of a waveform directly To do this select a small portion of the waveform and use the Zoom to Selection button one of Adobe Audition s Zoom Buttons to zoom in as far as you can go The Wave Display zoomed in to the sample level Instead of looking wavy the waveform is displayed as a sequence of squares strung together by a line Those squares are samples Move your mouse cursor over one You ll notice the cursor turns into a hand pointer Left click on a sample and drag it up or down as desired Right click on a sample to display the Edit Sample Directly dialog 44 CHAPTER 4 Navigating the Edit View x Sample 202254 Sample Value Interpret As 8 bit range 16 bit range 24 bit range Normalized 1 0 Cancel The Edit Sample Directly dialog Here are the major components of the Edit Sample Directly dialog e Sample is the number of the sample as measured from the beginning of the waveform e Sample Value is the value of the sample as measured using one of the four Interpret As options below Negative numbers mean that the sample is below the horizontal center of the waveform while positive numbers mean that the sample is above the waveform s center e Int
507. s won t be as effective as the actual chorus or flanging effects within Adobe Audition s Effects menu as the delay settings will be fixed and won t change over time Pelay 6h r Left Channel Delay gt gt fi20 ms Presets Add Dell _ Preview Delayed Original Slap Back 1 a Slap Back 2 Mixing KI B gt 50 re Spatial Echo J Invert Spatial Left Spatial Left 2 m Bight Channel apaia Bight Desy 4 J gt fiso ms Delayed Original Mixing KI gt jo z I Invert Vocal Presence Delay dialog ADOBE AUDITION User Guide By reducing the delay times further down into the 1 14 millisecond range you can spatially locate a mono sound a sound with the same information for both the left and right channels so that it appears as though the sound is coming from the left or the right side even though the actual volume levels for left and right of the wave are identical Delay These sliders allow you to adjust the desired delay for both the left and right channels up to plus or minus 500 milliseconds Entering a negative number means that you can move a channel ahead in time instead of delaying it For instance if you enter 200 milliseconds for the left channel the delayed portion of the affected waveform will actually be heard before the original part Mixing Move the Mixing sliders to set the percentage of Delayed wet signal and unprocessed Original dry signal to be mixed into the final output
508. scrolled to and continues on to the end of the song The music is played through channels 1 and 13 for Extended and Base level compat ibility Choose the desired instrument by typing its MIDI instrument number in the box to the right You can record music played by the Listen preview button Simply start Adobe Audition s recording process then go into Q the Music dialog and press Listen When the song is done hit Cancel and then press Adobe Audition s Stop control to terminate recording Important Make sure your sound card s mixer is set correctly for recording the MIDI channel Tempo The tempo is given in quarter notes beats per minute Your sample s length is the length of a quarter note If your note is longer than the period determined by the tempo then the notes will overlap Key Choose a key for your song from the Key drop down list Only standard major key signatures are listed so for a minor key simply choose the relative major B flat for C minor for example The key of C is the default Octave This drop down list lets you transpose the sequence by octaves Choosing C plays the notes at normal trans position Constant Duration When you check the Constant Duration box all notes will be the same length as the original sample regardless of pitch The operation that does this takes longer to calculate but high pitched notes will be the same length as lower pitched notes If the Constant Duration box isn t checked
509. se Wheel 215 MP3 34 mp3Pro 34 MRU List 59 280 mu Law 34 Multichannel Encoder requirements 329 Multichannel Encoder elements of 329 Multitap Delay 135 Multitrack about 8 button 352 Latency 231 ADOBE AUDITION 371 User Guide Session open 274 Session save as 276 tab 224 Multitrack View 11 79 Music 179 Mute 304 Mute Block command 267 Mute blocks 310 Mute button 244 289 290 293 Mute Track option 251 N navigating 241 NEC D4 50 New 45 New Format 55 New Session 273 Next Sun 34 Noise 190 Noise Reduction 160 170 Noise Shaping 77 Noise brown 191 Noise pink 191 Noise white 191 Non destructive editing 7 Normalization Values calculate 99 Normalize 72 112 Normalized Values 88 Notch filter 153 o Offset 87 One Shot 93 Open 46 Open a Multitrack Session 274 Open Append 47 Open As 47 372 INDEX Open File button 17 Open Order 226 Open Session 274 Open Waveform 275 Open New Collection 210 Order 229 231 232 Organizer Window 17 Organizer Window show 79 293 Original Artist field 90 Original Medium field 90 Origination Date 94 Origination Time 94 Originator 93 Originator Reference 94 Out button 286 289 Out of Band Peaks 73 Output 119 293 Output Button 244 Output Device 288 Output meters 336 P p d f 77 230 Pan button 286 Pan controls 289 Pan Envelope automation 334 Pan Envelopes show 281 Pan slider 303 Pan Expand 113 Panning Assignment selector 33
510. se this setting with older Plextor CD ROM drives It sends the D8 SCSI Op Code to the CD ROM drive e D5 This command sends the D5 SCSI Op Code to the CD ROM drive e NEC D4 Use this setting with older NEC CD ROM drives CD Speed This drop down control lists all extraction speeds that your selected CD ROM drive supports and lets you choose the speed you want to use Many people will find satisfactory results with the Max Maximum Speed option However if extraction at maximum speed produces errors try choosing a slower speed Buffer Size The figure in the Buffer Size box specifies the amount of data Adobe Audition calls into the CD Extraction module to fetch which therefore determines how much data is pulled from the CD in each call to the read command The default is 16 KB but you re welcome to experiment with the other sizes which range all the way to the highest buffer size your CD ROM drive supports While higher sizes mean faster ripping they could introduce errors into the ripped file Swap Byte Order Some CD ROM drives designed to work only with other types of computers like DEC and Macintosh systems report data using the Little Endian byte order while PCs need data reported using the Big Endian method Checking this box changes the byte order from Little Endian to Big Endian or vice versa You would normally leave this box unchecked check it only if the extraction process seems to work fine but the audio results are garba
511. seatedned a r a EREN 138 REVERD ae a E EE NE S 139 Sweeping Phaser csucasensveisenhuciscwae ceeewnceswaas Ved ae 141 DirectX erro iT E EE ETE ENEE ETE RETTERE TS 143 Filters omiiia E E A E rE E A TORE R A 144 Dynamic EQ sirecties aria adheliaaiecia tive nase eades tae 144 EFFIE scien dance ne e a Gul AENA GU EG 146 Graphic Equalizer skancernn sani binacaesnsacuend TAES aaecnsaiad 150 Graphic Phase Shifter 6 6 eee cece ten E nET E ESE NNEE LEDENG 151 Notch Fiter sasemon pranon aa AEA EEEE 153 Parametric Equalizer c eccsidasveeiasveh ad sae Birn EERE case 155 Quick Filt r scnscisccaseanoteransekhorsaeene ticapeeeeeeae ns 157 Scientific FIIterS lt xcvadesdershdeaabectanssaesarreasearteaseeens 158 Nois amp eReductiom os c2c2cceurrenectvedssiesas NRA ENAA EA 160 Click Pop Eliminator ascincdciagnevs copeee aenseeeeesaaegeets 161 Clip Restoration sicaicscaeeeceeac iii oee iania i eos 166 Hiss Reduction vicccicecete es oom na tnd E aa a eiaa 167 vii viii CONTENTS Chapter 9 Chapter 10 Chapter 11 Chapter 12 NOISERECUCTION Sascdesucdctosagectvedssaesarpsassaess AA Ga 170 Special scscaemgtanietosaecnensavady A aaa EEEE i RS 175 GONVOIULION oveszcsasesraeaciaeeretoreesnorsneaeacweeence gs 175 DIStOMION siccesancicnmannnedidnwaaerasinen E E 178 MUSIC ictinuctadinnnun asinine antearenieseeh seetemememeumeniete 179 DopplerShifter cesses ces dseeganciadaeetancswctaeteetenecss 181 Pitch Bender Jecccccadidananewanger
512. sees meamaeewe OOE 183 Streteh ar eaa 6G eg ee va aes Ba eae eat eee 185 Refresh Effects List cciscceicdcaadesaadahiaueseareniwrevan tac 187 Generate Menu Edit View SENCE ia ea E eee E share E aetna tae ae 189 DTMF Signals Siranee r EE R E io 189 NOISG siorino le iidse ta eed las EST E ETERA EENS 190 GENEFATE TONES dade ccinds vase aase answers asslagiinad ghee Eaa 192 Analyze Menu Edit View Show Frequency Analysis 1 0 1 eee cece eee eee e eee e ee eee 195 Show Phase Analysis oo se eee eee nec e eee een e ene e eee eee 197 StatiStiGs wigs tecaihaseaes sch E EAEE EEE REE AEE 199 General Tab sa ecideneics capes re R e Ea ana NEn EE 200 Histogram Tab ssos tegiiuedotigkaner ntsc ee EAE EN EAEE 201 Favorites Menu Edit View Edit Favorites vsecs2bsavdavigketvs aE OE ENEE E TA RA 203 FUNCHION Tab s25 0cecedsiiedaad ea E EENEN ORENA E a 204 SeiptTab ire reresri nna ann AA E RERNE 205 TOOMMAD ardiereneni nA r 205 Help Tab sxscwciwite ds taetae E EKE 205 Options Menu Edit View Loop ModE basins ci dedieceed ine eea in eee beeoriehead ice dees 207 Timed Rec rd seaidaiecidieteavsiara nis niee n Sees ayers E Ge Maes at 207 Monitor Record Level sees eee eee e eee e ee ee renee 208 Show Levels on Play and Record eee eee eee eee eee eens 208 MIDITrigger Enable sirrien aetna facta deed vee nies 208 Chapter 13 Synchronize Cursor Across Windows ee eee eee eee eee ee 208 Windows Rec
513. sent to the LFE channel It is also worth noting that Adobe Auditions Multichannel Encoder does NOT apply filtering to audio sent to the LFE channel nor does it apply any filtering during preview exporting or encoding This allows you to apply your own specific filtering as needed for your projects Therefore any low pass filtering needed for your final LFE channel content should be applied to your audio within the Adobe Audition Multitrack or on your Exported wav files It is recommended that you utilize a Bass Management circuit in your monitoring setup to ensure that you hear the representative mix levels that might be reproduced in an end listener s playback system Often home receivers and LFE equipped speaker systems will employ a bass management circuit on playback that will automatically route ALL sub 120 Hz or lower frequencies from all channels to the LFE speaker Therefore it is possible to overdrive the end listener s system by sending too much overall sub 120 Hz audio to the LFE channel Further some playback systems and even encoder systems will apply a 10 dB boost to LFE content The use of a bass management circuit in your monitoring system will therefore allow you to compensate for these playback scenarios and adjust your mix accordingly Center Channel Level Slider Center Channel Level Center Channel Level Slider 334 CHAPTER 20 Multichannel Encoder When in the Surround Panner modes the Center slider determin
514. ses this version of Adobe Audition to be compatible with previous versions when it comes to handling 32 bit PCM wav files how should we handle reference above to Cool Edit GS ADOBE AUDITION 223 User Guide Dither Transform Results increases dynamic range Check this option to enable dithering when processing effects such as FFT Filter or Amplify Most processing done by Adobe Audition uses arithmetic greater than 16 bit with the results converted back to 16 bit when complete During this conversion dithering provides a higher dynamic range and cleaner results with less distortions and negative artifacts If this option is disabled the results are truncated to 16 bits when converting back thus losing the more subtle infor mation When enabled the addition of dither retains this subtle information The drawback is that with each operation a small amount of white noise is added at the quietest volume level However the trade off between using dither thus adding noise and truncating the data thus creating artifacts and correlated quantization noise generally favor using dither so it s best to leave this option enabled With dithering you get almost 24 bit sample performance in only 16 bits as the dynamic range is increased by another 10dB or so allowing signals as quiet as 105dB Use Symmetric Dithering Normally you would leave this option checked If unchecked a DC offset of one half sample will be added each time some
515. setting Beyond this level as the input continues to increase in gain the output level remains relatively constant and does not increase in volume Loop With regard to waveform material a Loop is simply the repeating of a certain range either indefinitely or for a certain number of repetitions There are many looping functions in Adobe Audition such as Loop Duplicate or loop painting in the multitrack environment for looping waveform blocks If you insert a file that has loop information in its header just grab the bottom right corner of the block and drag to loop it over time Microsoft ADPCM The Microsoft ADPCM format consists of 4 bits per channel compressed data which provides 4 1 compression Files saved in this format will automatically be expanded to 16 bits when loaded regardless of their original resolution For this reason it s best to save to this format from a 16 bit waveform rather than 8 bit as the quality will be much greater The file extension is wav MIDI MIDI stands for Musical Instrument Digital Interface and is a way of communicating performance information from one piece of software or hardware to another This performance information can take the simple shape of a note instruction or it can transmit detailed information on things such as timing or sound patch data Windows provides a way of transmitting MIDI information internally between programs plus you can transmit MIDI information into and out of your comp
516. shes e g into the Name box If you want more than one separator enter a different number of dashes or change the text so that it doesn t match something already in the list For instance 2 is considered a valid separator the 2 after the dashes will be ignored To create a separator bar for a submenu enter the submenu path first e g My Effects You can also enter any text you would like the Favorites menu to display The text will be nonfunctional of course Save Press this button to save a new or edited entry to the Favorites List Note Make sure you do this before you press the Favorites dialog s Close button Cancel A press of this button cancels the current Favorites edit and disables the fields in the Properties area Press new shortcut key You may assign a key or combination of keys to act as a shortcut to any of your Favorites Adobe Audition gladly accepts most single key shortcuts The most notable exceptions are the Print Scrn Scroll Lock Num Lock Caps Lock Tab and Enter keys However you can use the Ctrl Shift and Alt keys or any combination of the three to act as the first part of a multiple key shortcut With your text cursor in the Press new shortcut key field press the desired key s to use for the Favorite s shortcut key Note If the shortcut key you choose is already in use elsewhere in Adobe Audition you ll be alerted with a dialog box and given the opportunity to
517. sidered clicks If this option is used some valid clicks may not be repaired Try cleaning up audio without using this option first and only use it if the clicks are very stubborn Link Channels If checked audio from both channels is simultaneously analyzed for possible clicks If a click is found in one channel the likelihood that a click will be detected in the other channel is increased Smooth Light Crackle This option will smooth out one sample errors when detected and can have the effect of removing more background crackle If this makes the resulting audio sound thinner flatter or more tinny leave Smooth Light Crackle turned off Detect Big Pops With some audio large unwanted events such as those more than a few hundred samples wide may not be interpreted as clicks by the normal detection algorithm Check this box if you want Adobe Audition to remove these large clicks as well Valid values are 30 to 200 Note that a sharp sound like a loud snare drum hit can have the same characteristic as a very large pop so you should only enable this option if you know the audio has very large pops like a recording from a record with a very big scratch in it If this option is enabled and drum hits sound softer then the onset of the drum is being considered a big pop and is being repaired If this happens try increasing the threshold a bit until the obvious pops are fixed Should you find that obvious loud pops are not being fixed t
518. signal when flanging This causes the waves to cancel out periodically instead of reinforcing the signal If the Original Expanded mix settings are set at 50 50 the waves will cancel out to silence whenever the delay is at zero e Special EFX Selecting this box mixes both the normal and inverted flanging effects The delayed signal is summed while the leading signal is subtracted out e Sinusoidal If this option is chosen the transition from initial delay to final delay and back will follow a sine curve Otherwise the transition is linear and the delays from the initial setting to the final setting are at a constant rate With Sinusoidal checked the signal is at the initial and final delays more often than it is between delays The Invert Special EFX and Sinusoidal options give you a lot of control over the flanging effect so try experimenting with them to achieve the effect you want Rate The Frequency measured in hertz Period measured in seconds and Cycles measured in cycles settings refer to the rate at which the delay cycles between the initial delay and the final delay Different settings can result in widely varying effects For example a setting of 0 5 cycles causes the effect to start with the initial delay and end with the final delay If a frequency of 4 is chosen the flanging will cycle from the initial delay to the final delay and back again four times per second Presets Adobe Audition comes with several Flanger pr
519. signing the Play command in Adobe Audition to the C4 note on your MIDI keyboard Note The Keyboard Shortcuts dialog is fully documented in the Keyboard Shortcuts chapter 329 Chapter 20 Multichannel Encoder dobe Audition includes the Multichannel Encoder a self contained dialog where you can access the tracks of A any existing Multitrack session In the Multichannel Encoder dialog you can individually pan each track to your multichannel setup preview the current mix and then Export the session as an encoded WMA Pro version 9 Multichannel file It is also possible to export your session as 6 Mono Wave files or as one interleaved 6 channel Wav file for use with an external Multichannel Encoder such as a Dolby or DTS encoder To use the Multichannel Encoder first open an existing Adobe Audition session or create a new session in the Multitrack window Once all your tracks are added you next want to achieve a basic stereo mix balance with your desired track volume stereo pan and FX settings Then launch the Multichannel Encoder from the View menu Multichannel Encoder Requirements To achieve proper 5 1 Surround preview playback from the Multichannel Encoder it is necessary to meet the following requirements e A sound card installed and selected that offers at least 6 channel analog output as well as a special interleaved device driver that is compatible with the Microsoft DirectSound multichannel format e Microsoft Di
520. sing Pan Expand as a real time effect in Multitrack View it supports parameter automation e Check the Automated box in the Center Channel Pan section of the Multitrack View version of the Pan Expand dialog to draw the Center Channel Pan curve using a yellow envelope on waveform blocks e Check the Automated box in the Stereo Expand section of the Multitrack View version of the Pan Expand dialog to draw the Stereo Expand curve using a pink envelope on waveform blocks Note You must have View gt Show FX Parameter Envelopes in Multitrack View turned on in order to use parameter automation Stereo Field Rotate This effect allows you to rotate the stereo field of an audio file Stereo field denotes where in space instruments or other sources are placed within the L R image of a stereo waveform This is accomplished by manipulating the Stereo Field Rotation graph ADOBE AUDITION User Guide Stereo Field Rotate x r Rotation TEET Lett Presets Add _Del 180 degree Slow Tum 360 degree Rotation 45 degree Fast to Slow Leslie 45 degree Slow to Fast Leslie 90 degree Inverted L R Expand Selection Mono Expanding Effect N Pan Left to Right ene Pan Right to Left Righi Flat Close J Invert Left Right Range I Loop Graph I Bypass Cancel 360 degee v Frequency Hz viji Preview Help Stereo Field Rotate dialog Note If you specify a stereo field rotation of 180 degrees both the left an
521. solate the click To speed up the repairing of single clicks configure the F3 key to correct them when they are highlighted by first choosing Q the Click Pop filter and pressing Fill Single Click Now The F3 key then repeats the last action without bringing up the dialog box You can also create a quick key in the Favorites menu for filling in single clicks Use the Spectral View feature with the spectral resolution set to 256 bands and a Window Width of 40 to see the clicks Q in a waveform See the Spectral Display area of Options gt Settings gt Display to adjust these parameters Clicks will ordinarily be visible as bright vertical bars that go all the way from the top to the bottom of the display 161 162 CHAPTER 8 Effects Menu Edit View To hear all the clicks that were removed save a copy of the original file somewhere then Mix Paste it overlap it over Q the corrected audio with a setting of 100 and Invert enabled It may take a little trial and error to find the right settings but the results are well worth it much better than searching for and replacing each click individually The parameters that make the most difference in determining how many clicks are repaired are the Detection and Rejection thresholds the latter of which requires Second Level Verification Making adjustments to these will have the greatest effects you might try settings from 10 for a lot of correction 50 for very little correction on the de
522. specified percentage Flavor Use this drop down list to choose the type of waveform to use Each flavor has a particular sound unique unto itself e SineFundamental no harmonics pure tone e TriangleOdd harmonics with amplitude of 1 to itself squared e Square Odd harmonics with amplitude of 1 to itself e SawtoothAll harmonics with amplitude of 1 to itself Duration This setting lets you enter the length of the generated tone in seconds Feel free to use decimals for partial seconds For instance entering 25 in the Duration field will generate tones for exactly one fourth of a second Source Modulation Choose an option for modulation e Modulate With this option checked instead of generating new tones the currently highlighted wave data is be ring modulated or multiplied by the current tone settings This is great for adding really weird special effects Note If you check the Modulate option make sure that a section of the active waveform is highlighted e Demodulate Like Modulate Demodulate requires a highlighted selection Demodulate can be used on a previously modulated source with interesting effects e Overlap mix Checking this option will mix the generated tones on top of the selected audio Presets This section allows you to recall and manage Generate Tones presets More information about Presets can be found in the Looking at the Work Area chapter Preview Press this button to audition the current G
523. ss the OK button to initiate the silence adding process Save to Files Use this option if yowd like to split the audio between cue points in the active waveform to new files Filename Prefix Enter the desired Filename Prefix such as phrase in the field provided Adobe Audition automatically adds numbers after the prefix phrase02 phrase03 etc as well as the correct extension based upon the output format you ve chosen 84 CHAPTER 7 View Menu Edit View Destination Folder This is the folder where Adobe Audition will place your new split files Press the Browse button to open the Choose Destination Folder window Output Format Use this drop down control to select the desired output format If the selected format has options the Options button will be enabled allowing you to select them Show Play List Select this item to display Adobe Audition s Play List window The Play List is an arrangement of Cue List entries that you can play back in any order and loop a specified number of times The Play List can include an unlimited number of entries re Loops ora Rater Move Up Tove Dow Play List Dialog The Play List window is a dockable window allowing you to reposition it at one of several places in the Adobe Audition interface Or you can detach the Play List window and have it float above Adobe Audition s main window To close the Play List window when it s floating click on the X con
524. ssible if two or more blocks are highlighted to make the left hand edges of all highlighted blocks the same as the left hand edge of the last highlighted block Align Right Click the Align Right command which is only visible when two or more blocks are highlighted to make the right hand edges of all highlighted blocks the same as the right hand edge of the last block you highlighted Adjust Boundaries This function will adjust the boundaries of the selected block either inwardly or outwardly After highlighting to define an area to adjust to any material in the waveform block that lies within this highlight will be retained or exposed removing that which is outside of the highlight or including material inside the selection that is not currently revealed For example with a five second wave block highlighting the third second and choosing Adjust Boundaries will trim off the surrounding material the first two seconds and the last two seconds leaving just the third second If you decide you ve trimmed off too much you can highlight the middle second plus a little to the right for instance and again choose Adjust Boundaries to bring back that little bit to the right thereby lengthening the wave block Note To fine tune your adjustments in the preceding example you could also have double clicked on the trimmed block to bring up the Edit View double clicked to highlight the displayed area then zoomed out to adjust the highlight boundar
525. ssion rate is less compatible than the standard 4 bit and may not work on all systems Microsoft ADPCM wav The Microsoft ADPCM format consists of 4 bit per channel compressed data which provides 4 1 compression Files saved in this format will automatically be expanded to 16 bits when loaded regardless of their original resolution For this reason it s best to save to this format from a 16 bit waveform rather than 8 bit as the quality will be much greater Options Choose from the following e Single Pass compresses files in a single pass Use this option if youre in a hurry However the quality will be lower than if you use the Multiple Pass option The time taken to read an ADPCM compressed file is the same no matter which option you choose e Multiple Pass compresses files using multiple passes which provides better quality This is the default setting e Block Size offers three size options each with a different compression ratio and quality level e Large Default Quality with a compression ratio of 3 98 1 e Medium Good Quality with an increased quality level but because the compression ratio is a bit smaller 3 81 1 your files will be slightly larger than with the Large option e Small High Quality offers the best quality ADPCM sound at a trade off of larger files due to the smaller compression ratio 3 25 1 34 CHAPTER 3 Wave File Formats Supported by Adobe Audition mp3Pro mp3 The mp3Pro filter enable
526. stantly to make adjustments Integration with Adobe Premiere Pro and Adobe After Effects Send your audio from Adobe Premiere Pro or After Effects into Audition with the Edit Original command WAV files are stamped with session data so Audition can automatically open the session that created the WAV file you are using in the other software Organizer window Keep your project resources at your fingertips using the Organizer window where you can quickly access currently open audio MIDI and video files available effects and favorites Batch file processing Use the dedicated batch processing wizard to easily convert large numbers of files among different sample rates bit depths and file formats Also automate repetitive tasks with scripts Surround sound support Use the multichannel encoder to create a surround mix from any session in the multitrack view then export the mix as a 6 channel wave six mono waves or a multichannel WMA 9 file Favorites Use Favorites to build a customized collection of commands scripts effects and external software tools Favorites appear in the Organizer window and the Favorites menu and can be assigned keyboard shortcuts for quick access Precise analysis tools Work with built in analysis tools frequency analysis phase analysis statistics and spectral view in real time while editing to save time and see your audio characteristics from edit to edit ADOBE AUDITION 5 User Guide Use Integrated
527. stereo or mono that you want to use and press OK 3 Click on the Record button in the Track Controls window to begin recording 4 When you re done recording click on the Stop button in the Track Controls window 5 Edit as needed and then save your recording to disk using File gt Save As 42 CHAPTER 4 Navigating the Edit View Wave Display Right Click Menu Right click in the Wave Display window to bring up a menu with several useful commands Notice that most have keyboard shortcuts listed next to their name You ll find that using these shortcuts for frequently used commands will speed up the editing process considerably Select View Ctrl Shift A Select Entire Wave Ctr A Insert Into Multitrack Ctrl M Cut Cr Copy Ctrl C Copy To New Paste Cty Mix Paste CtlsShitte j Ctri T Add to Cue List F8 Note By going to Options gt Settings you can change the behavior of your mouse s right click button in the Wave Display By default a Wave Display right click brings up a menu However you can push the Extend Selection radio button in the Settings window s General tab to have a right click extend a selection in the Wave Display this means you ll then need to hold down the Ctrl key as you right click to display the menu Select View This command selects the contents of just the Wave Display area that you re viewing Select Entire Wave The entire waveform is selected highlighted with this command Insert Int
528. sting time delay effects using the Loop Duplicate function 1 Start by placing the source waveform into the Multitrack View ADOBE AUDITION 309 User Guide 2 Once entered hold down the Shift key and right click on the waveform and drag it to make an Image The Image should be placed onto a new track such as below the existing track 3 Next shift the Image in time to the right of the original small amounts to create phase shifts small time offset larger amounts to create delays 15 50 ms offsets or echoes 50 ms or greater offsets 4 Repeat this any number of times shifting each Image slightly more to the right You can even create in tempo delays by changing the Display Time Format to Bars and Beats and use the Snapping function to Snap To Ruler locations placing the delayed Images at every beat for example Try reducing the volume levels slightly for each Image to soften the echoes also the combined waveforms will increase the track s overall level in the mix and could cause clipping You can also create both Pan and Volume envelopes for each Image for truly dynamic delay effects that change over time The great thing is this is all completely non destructive Convert to Unique Copy This command creates a copy of the selected waveform block Copying a waveform block in the multitrack environment as opposed to creating an Image will create a separate audio file on disk identical to the original in size and disk space con
529. sumption Creating a unique copy of a waveform block has the advantage of allowing for separate editing of each occurrence of the waveform you can add reverb to the one placed in your intro while the same sound placed in your verse can be dry Images have the advantage of not consuming any disk space and depending on the situation it may be an advantage to be able to affect all occurrences of a waveform block by editing the original once With Images you can add a Flanger effect to one instance and all 30 instances for example would be flanged To quickly add an effect to a waveform block within the Multitrack View double click on it which will open up the waveform in the Edit View window From there you can use File gt Save As to create a copy of the file that can be transformed using any Effect function The newly processed file can then be placed into the multitrack environment To add multiple effects to an existing waveform non destructively in Multitrack View 1 Create a copy of the waveform using Edit gt Convert to Unique Copy or by saving the file under a new name using Save As in the Edit View 2 Once a copy of the original file has been made add any processing or effect you like to it For effects that have wet dry balancing set them to 100 or close to 100 wet so the result is primarily effect The original waveform that you copied will provide the dry element 3 Insert the processed copy into the multit
530. t Entire Wave 42 65 Select View option 42 Selected Waves 305 Selection 219 Selection save 53 Send 32 bit audio as 229 Session append to 274 close 275 ADOBE AUDITION 373 User Guide new 273 open 274 save 275 save as 276 Session Display 19 241 Session Display about 248 Session Files 9 about 241 Session Properties 284 Set Controller 7 305 Set Current Clipboard 62 Set Tempo 304 setting volume 263 Settings 214 327 Shortcut Key 352 Shortcuts Keyboard amp MIDI Triggers 236 328 345 Silence 97 189 Silence option 43 Sine 194 Slack 228 Smooth all edit boundaries by crossfading 223 Smooth auto scrolling during playback 227 Smooth Delete and Cut Boundaries 223 SMP 34 SMPTE Enable 326 SMPTE format 86 SMPTE Start Offset 326 SMPTE tab 228 Snap to Blocks 314 Snap to Cues 69 314 Snap to Frames 69 Snap to Frames Always 314 Snap to Loop Endpoints 314 Snap to Ruler 69 314 374 INDEX Snap to Zero Crossings 69 Snapping 69 313 SND 30 34 Solo button 244 289 290 293 Solo Current Track option 251 Solo Track option 251 Soundtracks replacing 263 Source Selection 49 Source Supplier field 90 Speaker placement 339 Special effects 175 Spectral Display 221 Spectral tab 219 Spectral View 38 79 Spectrum 219 Spin Up Before Extraction 51 Splicing Frequency 186 Split 267 310 Square 194 Start Date field 91 Start Order 226 Start Recording 207 Static Peaks option 25
531. t amount of amplification that will not result in clipping distortion All parts of the wave are amplified at equal levels For example if the loudest peak of a waveform is at 80 and the quietest peak is at 20 normalizing the file to 100 results in the waveform s new loudest peak being 100 and its new quietest peak being 40 I Normalize to J Decibels Format MV Normalize L R Equally Tl DC Bias Adjust fo z Normalize dialog Normalize to Enter the percentage of maximum to which you want to normalize For example choose 50 to compute values needed to amplify the selection no more than 50 of maximum resulting in a 3dB attenuation from maximum output Choose 100 default to apply the most amount of amplification possible without clipping Decibels Format With this box selected the value in the Normalize to box is represented in decibels instead of percentage Normalize L R Equally Check this box to use both channels of a stereo waveform in calculating the amplification amount When it s unchecked Adobe Audition computes the left and right values in a stereo waveform separately poten tially amplifying one channel considerably more than the other This could degrade the waveform s stereo image DC Bias Adjust Some recording hardware may introduce a DC Bias which results in the recorded waveform appearing to be above or below the normal center line Check DC Bias Adjust and set it to 0 to center the waveform on
532. t and at any feedback amount with any high or low cut filter With experimentation you can achieve some very interesting effects 135 136 CHAPTER 8 Effects Menu Edit View Delay Units This is a numbered list that displays the different Delay Units and their settings in the format Delay delay time at Offset Feedback percentage Click on a delay unit in the list to adjust the Delay Settings sliders for that particular Delay Unit The Add button creates a new Delay Unit with the current Delay Settings and the Remove button deletes the currently highlighted Delay Unit You can create a maximum of 10 Delay Units Each delay unit is represented in the graph above as a back leading arrow starting at the Offset and going back the number of milliseconds stated under Delay A single delay unit is much the same as the Echo function but with a slightly different filtering setup It uses two sliding bands with variable cutoff points instead of 8 bands of filtering Delay Settings These are the characteristics used for the delay settings of each delay unit Click on a different delay unit in the list or add a new one to bring up the Delay settings for that particular delay unit Offset Adjusts the point in the delay line from which Adobe Audition will take the audio It is then mixed into an earlier point in the delay line which will cause echoing Keep in mind that it s the relative positions of the offsets of the delay units tha
533. t click menu to specify a different crossfade type Modify the fade curves created with Crossfade by enabling the Show Volume Envelopes and Enable Envelope Editing Q options in the View menu Loop Duplicate Loop Duplicate will create a specified number of consecutive Images of the selected waveform block creating in effect a loop of the waveform x Note For waveform blocks a more efficient and flexible method of looping is to adjust the block s Loop Properties Repititions Duplicate block E times Spacing No gaps continuous looping Lo TE l C Evenly Spaced 012000 cme Loop Duplicate Dialog e Repetitions In this field enter the number of times youd like to create an Image of the waveform block e Spacing Two options are provided here Decide if you want no gaps between each duplicated waveform block or if you wish them to be evenly spaced by a certain amount which can be specified in the field provided 266 CHAPTER 13 Navigating the Multitrack View To use the Loop Duplicate function to create interesting time delay effects 1 Start by placing the source waveform into the Multitrack View 2 Once entered hold down the Shift key and right click on the waveform and drag it to make an Image The Image should be placed onto a new track such as below the existing track 3 Next shift the Image in time to the right of the original small amounts to create phase shifts small time offset larger amou
534. t either 16 bit or 32 bit quality with this option The default is 16 bit Press the Dithering Options button to bring up a dialog that lets you specify how you want the 16 bit mixdown to be dithered Merging Set the following e Delete old takes after merging Check this box to have Adobe Audition automatically delete any unused takes created during a Punch In when you select a take to go with If this setting is off unused takes remain available to the Session in the Insert menu and occupy hard drive space e Crossfade Time This is the amount of time measured in milliseconds over which crossfading occurs when a take created using Punch In is merged back into the surrounding waveform Defaults Set the following e Track Record Check the desired radio buttons to specify how waveforms are created when recording directly into the Multitrack View as mono or stereo and as 16 bit or 32 bit e Pre Mixing This is the bit size used for the background mixing process Best quality is achieved by leaving this at the default 32 bit setting However if you re using multiple sound cards it may be advantageous to choose 16 bit for pre mixing as less data will be transferred across the hard drive s which will speed things up For single output device situations or faster hard drives 32 bit is better as it provides optimization at mixdown Panning Mode This section sets the method used for panning waveforms in a multitrack session e L R
535. t make a difference not their absolute position For instance if you have two delay units at offsets of 200 and 500 the resulting audio will sound the same if they were at 100 and 400 The difference between the offsets is what is important Delay Adobe Audition feeds audio back into the delay line after a certain delay This slider adjusts that delay in milli seconds The result is an echo with a period of the delay given to be generated With several delay units of varying delays added the final echo pattern could become very complex Very short delays give ringing or robotic sounding events Longer delays give more distinct echoes Feedback Is the percentage of the original signal to feed back into the delay line e Ifthe feedback slider is set too high definite ringing and true feedback will occur The audio will get louder and louder until it clips and becomes distorted However sometimes you may want this effect which is similar to the feedback you hear when a live microphone is set too close to a loudspeaker e Ifthe feedback percentage is extremely low then not very much of the original signal will be fed back into the loop This results in a very subtle effect Allpass Feedback To help prevent the DC component from getting out of hand the waveform tending upwards or downwards until it clips enable the Allpass Feedback option When turned on audio from the destination of the delay loop is mixed back into audio from the originati
536. t the size of the room you wish to simulate or directly enter a value in the text box to the right Low numbers equate to a smaller room use higher numbers to create a larger virtual space Decay The amount of reverberation decay is adjusted with this slider You may also specify an exact value measured in milliseconds in the text box to the right Diffusion This setting defines the texture of the reverb Move the slider to the left if you want a reverb with more echo characteristics while positions right of center will produce a smoother reverberation with fewer echoes A text box is provided so that you can enter a value directly High Cutoff Frequency This slider specifies the uppermost audio frequency at which the reverb effect can occur You can enter the exact frequency in the text box to the right Low Cutoff Frequency The lowermost audio frequency at which the reverb effect can occur is set with this control The exact frequency may be entered directly in the text box to the right Mixing The controls in this section determine the amount of reverb to mix in with the original audio source ADOBE AUDITION 139 User Guide e Set the percentage of source audio to leave in the effect using the Original Signal dry slider or type in the percentage directly in the text box to the right e Set the percentage of reverb to place in the effect using the Reverb wet slider or type in the percentage directly in the text box to the ri
537. ta shows up and can be manipulated in Adobe Audition s Multitrack View SMP Audio files with an smp extension are used by Turtle Beach s SampleVision program The format supports only mono 16 bit audio If your data is in a different format you ll be asked to convert it before saving SMP format also supports loop points which can be edited using Adobe Audition s Cue List Shortcut Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer keyboard For example instead of using your mouse to go to the Edit menu and selecting Cut to remove the highlighted portion of a waveform you can simply press Ctrl X In Adobe Audition you can execute commands from a MIDI keyboard a sequencer or any other device capable of issuing a MIDI command This type of Shortcut is referred to as a MIDI Trigger An example of this would be assigning the Play command in Adobe Audition to the C4 note on your MIDI keyboard SMPTE Start Offset The offset to the start of a multitrack session The Start Offset determines when playback and recording will trigger while Adobe Audition is syncing to SMPTE time code SMPTE Time Code SMPTE Society of Motion Picture and Television Engineers time code is a timing reference used to synchronize two devices to the same clock SMPTE time is broken down into hours minutes seconds and frames SND Waves with this file extension are usually Apple AIFF or
538. tal Ruler and drag the little hand over the ruler to scroll time wise through the session e Right click on the Horizontal Ruler and drag to select an area to zoom in on The zoom in occurs when the right mouse button is released e Right click anywhere on the Horizontal Ruler to call up a menu with several options Display Time Format This submenu allows you to choose the time format the Horizontal Ruler uses Snapping Snapping allows the edges of any block to snap to certain time locations when being dragged Check the snapping behavior s desired Zooming Six zoom commands are provided here Zoom In Zoom Out Zoom Full Zoom to Selection Zoom In to Left Edge of Selection and Zoom In to Right Edge of Selection Vertical Ruler The Vertical Ruler at the right edge of the Wave Display shows the relative amplitude of a waveform over time dB Vertical Ruler ADOBE AUDITION 41 User Guide By default its display format is set to Sample Values the exact sample value of the audio data but it can easily be switched to three other types Normalized Values Percentage and Decibels by doing one of the following e Right click on the Vertical Ruler to switch display formats from a pop up menu e Go to Adobe Audition s View gt Vertical Scale Format menu and make a selection e Double click on the Vertical Ruler to cycle through all of the display formats Note When the wave display is set to Spectral View t
539. te Clipboard files on exit 218 Delete old takes after merging 226 Delete Selection 65 Delete Silence 65 Delete This Take 302 Demodulate 194 Depth 142 Destination 56 Destroy Blocks remove amp close 312 Destructive and Non Destructive Editing 7 Destructive editing 7 Detect 163 Detect Big Pops 164 Device Order 232 328 Device Properties 229 328 Device s 49 286 Dial String 190 Dialogic ADPCM 32 DiamondWare Digitized 32 Digitization Source field 90 Digitizer field 90 DirectX 143 Disable Undo 213 Display In Edit View button 18 Display tab 220 Display Time Format 86 249 295 Display Title field 90 Distortion 178 Dither 76 Dither amount for saving 32 bit data to 16 bit files 224 Dither Depth 77 Dither Transform Results 223 Dithering Options 226 Dockable Windows 14 220 Don t ask for further details 47 Doppler Shifter 181 Downsampling quality level 223 Drop down Menus 16 Dry Out 119 DTME Signals 189 190 DVI IMA ADPCM 33 DWD 32 Dynamic Delay 121 Dynamic EQ 144 Dynamic Peaks option 25 Dynamics Processing 103 E EBU Extensions tab 93 Echo 123 Echo Chamber 125 Edit Cue Info button 82 Edit Favorites 19 203 Edit Sample Directly option 43 Edit Script File 211 Edit Tempo 87 Edit View 11 Edit View button 352 Edit View Right Clicks 215 Edit View about 37 Edit Waveform 258 301 Effects 293 Effects Pane 18 Effects Rack about 270 Effects Settings command 252
540. te a blank dockable window called a placekeeper Use it to more accurately define where you want a dockable window to be especially for windows that are only useful when viewed in a certain aspect ratio For instance if you try docking the Track EQ controls above the Transport Buttons they end up going underneath the whole session display which creates a view that isn t very useful or aesthetically pleasing You can use a placekeeper though on either side of the Track EQ window in order to force the EQ into a certain aspect ratio Placekeepers can also be used just for appearance s sake just because you like the way they let you customize Adobe Audition s look Placekeepers may be inserted at any point in the Adobe Audition interface where docking is possible and they automat ically resize to fit their docked area You can right click within a placeholder window to select Squares to fill the place keeper s appearance Check the Make Default item to make future placekeepers automatically adopt the current appearance 16 CHAPTER 2 Looking at the Work Area You can have up to four placekeeper windows each created with a click of the Show a Placekeeper command To delete a docked placekeeper right click on its grab bar and select Close from the pop up menu Drop down Menus Loop Mode Monitor Record Levels F10 v Show Levels on Play and Record Midi Trigger Enable v Synchronize Multitrack Block Info SMPTE Slave Enabl
541. te tones You may enter other characters such as the and symbols as well as extra digits a b c and d Entering the pause character defined in Pause Character below inserts a pause of a defined length Tone Time Enter the milliseconds for which the tones will last The standard time for DTMF tones is 100ms BreakTime This is the number of milliseconds of silence between successive tones Pause Time When the pause character is used in the Dial String field this is where you enter the length of the pause measured in milliseconds Pause Character When you enter this character in the Dial String field Adobe Audition interprets it as a pause and will insert silence for the duration specified in the Pause Time field DTMF Signals With this option selected Adobe Audition generates DTMF signals normal push button telephone type tones using combinations of the frequencies 697Hz 770Hz 852Hz 941Hz and 1209Hz 1336Hz 1477Hz and 1633Hz MF Signals CCITT R1 Choose this option to have Adobe Audition generate MF signals tones that are internal to telephone networks using paired combinations of the frequencies 700Hz 900Hz 1100Hz 1300Hz 1500Hz and 1700Hz Custom This feature allows you to specify the combinations of frequencies to be used in generating signals Select this option to enable the frequency entry boxes on the keypad chart below Click in an entry box to change that frequency Amplitud
542. tection threshold or 5 to 40 on the rejection threshold The next parameter that affects the output most is the Run Size A setting of about 25 is best for high quality work If you have the time running at least three passes will improve the output even more Each successive pass will be faster than the previous one Detection Graph This graph shows the exact threshold levels to be used at each amplitude with amplitude along the x axis left and right and the threshold level along the y axis up and down Adobe Audition will use values on the curve to the right above 20dB or so in processing louder audio and settings towards the left in processing softer sections There are separate color coded curves for detection and rejection Auto Find All Levels Using the values input in the Sensitivity and Discrimination fields as guides the Auto Find All Levels command scans the highlighted area for clicks and determines values for all of the Threshold Detect and Reject values Five areas of audio are checked starting at the quietest regions and moving up to the loudest Sensitivity Lower values entered here will find more subtle clicks Detected levels found when using Auto Find All Levels will always be higher than this value Q Try a value of 10 for lots of subtle clicks to 20 to set levels for fixing a few louder clicks Discrimination Higher values that are input in this field will fix fewer clicks but will leave original audio alone mo
543. ted so save any modified but unsaved waveforms Open Waveform Use this command to load an existing waveform or CD track into an Adobe Audition editing window The Open a Waveform dialog appears allowing you to select one or more audio files for listening or modification It looks and works similar to a standard Windows Explorer Open window including allowing you to use the Ctrl and Shift keys to select multiple non contiguous and contiguous files respectively but adds useful Adobe Audition specific features Note More information on the Open a Waveform dialog can be found in the File Menu Edit View chapter Save Session Access this command to save the current session back to disk overwriting the original without confirmation If the session doesn t yet exist as a file not previously saved you ll be presented with the Save Multitrack Session As window first 276 CHAPTER 14 File Menu Multitrack View Save Session As The command brings up the Save Multitrack Session As dialog allowing you to save the current session to a new name or location along with all waveforms used in the session Free space on all available drives is displayed in the right section of the window You ll be prompted to save any modified but unsaved waveforms Save Multitrack Session As 2 x Recent Folders c lmusicS jingles d Look in ja Radio gt e ex Far Free Space C 6655MB a DA 7283MB tadiofinal ses E 43MB
544. tely linear it s very difficult to notice Downsampling at even the lowest quality setting generally won t introduce any undesired noisy artifacts Instead it may just sound slightly muffled because of the increased high end filtering e Post Filter To prevent any chance of aliasing the post filter on upsampling will remove all frequencies above the Nyquist limit thus keeping them from generating false frequencies at the low end of the spectrum In general this box should be enabled for best results Dither amount for saving 32 bit data to 16 bit files This option enables disables dithering when pasting 32 bit audio to 16 bit The default value of 1 bit will enable dithering while a value of 0 will disable dithering For semi dithering choose a value of 0 5 With dithering you get almost 24 bit sample performance in only 16 bits as the dynamic range is increased by another 10dB or so This allows signals as quiet as 105dB Allow for partially processed data after canceling effect This option decides what happens after you hit the Cancel button while in the middle of applying an effect to a waveform e Ifthe box is checked Adobe Audition will leave the effect applied to all data processed up until the point you pressed Cancel e Uncheck this box to have Adobe Audition automatically remove the effect on already processed data when Cancel is pushed Multitrack Tab Use these settings to adjust system performance and default pa
545. tem from the Unused Record Devices list to the Device Preference Order list lt lt Remove Click on this button to remove a highlighted item from the Device Preference Order list It will then appear in the Unused Record Devices list Move Up Pushing this button moves the selected item up in the Device Preference Order list Move Down Pressing this button moves the highlighted item down in the Device Preference Order list Use in EV Use this button to designate that the selected item in the Device Preference Order List should be used for recording in Adobe Audition s Edit View EV appears next to the device s name Just one record device can be used in Edit View Properties A press of this button brings up the highlighted item s properties in Adobe Audition s Device Properties dialog ADOBE AUDITION 235 User Guide MIDI Output Devices Tab Playback Devices Recording Devices MIDI Output Devices MIDI Input Devices Please choose which device devices you would like to use in Multitrack View The top Multitrack Device in the list will be Device 1 the second Device 2 and so on Unused MIDI Out Devices Multitrack Device Preference Order MIDI Mapper S Tst Microsoft GS W lt lt Remove if EV This device is to be used in Edit View emea Help The MIDI Output Devices tab of the Device Ordering Preference Dialog d Unused MIDI Out Devices The items in this list are the MIDI Out devices on y
546. tem in the Play List will be played every time Autocue is pressed Move Up Push this button to move the highlighted item in the Play List up one position Move Down Click on this button to move the highlighted item in the Play List down one position Show Transport Buttons Check this item to display Adobe Audition s Transport Buttons which are used to play stop pause rewind and fast forward the active waveform or session The Transport Buttons window is dockable Note More information on the Transport Buttons can be found in the Looking at the Work Area chapter Show Zoom Buttons Select this item to display Adobe Audition s Zoom Buttons The Zoom Buttons window is a dockable window allowing you to reposition it at one of several places in the Adobe Audition interface Note More information on the Zoom Buttons can be found in the Looking at the Work Area chapter Show Time Window Select this item to show Adobe Audition s Time Window This dockable window displays the current position of the playback cursor The default display value is mm ss ddd minutes seconds thousandths of a second but this can easily be changed by right clicking on the Time Window and choosing another option such as Compact Disc Samples Bars and Beats or one of several SMPTE values Note More information on the Time Window can be found in the Looking at the Work Area chapter Show Sel View Controls When checked the Sel Vi
547. ters goes in this field e Artist Enter the name s of the performer s here up to 30 characters e Album Name The title of the album is typed into this field This title can have up to 30 characters e Genre Select the musical category from the drop down list of dozens of alphabetically sorted choices e Year The year up to 4 digits the song was recorded or released goes here e Fill Fields Automatically When this box is checked the current year is automatically entered into the Year field e Comments Enter any general text about the recording here up to 30 characters e Track Number If the recording came from an album type in the number up to two characters of the track in this field Loop Info Tab xi Text Fields Loop Info EBU Extensions Sampler Mise File Info m Source Waveform Information These loop settings will be used Loop C OneShot when inserting this waveform into a Multitrack session Number of Beats 488 Tempo 120 beats minute Key Non voiced v Find Nearest r Tempo Matching Stretch Method Fixed Length no stretching faal Wave Properties Dialog Loop Info tab Source Waveform Information Loop Select this option to tell Adobe Audition that the file is a loop If the file is inserted into Adobe Audition s Multitrack view it will automatically have looping turned on for that block ADOBE AUDITION 93 User Guide One Shot Choose this option if th
548. tes are supported Image An Image is a block in the multitrack environment that does not singly represent a sound file but rather acts as a shortcut Images are simply pointers which when encountered in a session direct Adobe Audition to the same sound file on disk For example you may have a drum hit which occurs 30 times within a session If these 30 instances are entered in the session as Images the disk space required for the drum hits amounts to the same as for one instance Keep in mind that because Images represent the same file any alteration to one Image like a cut or transform will affect all instances of the Image in the session As an alternative a copy of a block will create a separate sound file on disk this consumes disk space but will allow for separate editing Index Cue One of the four types of Adobe Audition Cues Indexes are markers within a CD track Some CD players offer controls for cueing indexes Also the time between the track marker that begins a track and the first index in that track will show up on the player as negative time Impulse An impulse is the data by which every other sample in your waveform will be multiplied when using the Convo lution effect Effects gt Special gt Convolution Impulses are like amplitude maps For example if the impulse is a single sample of a full volume tick then the convolution of that impulse with any audio data would just be that audio data itself Sho
549. th of a second e High spread values cause the separate voices to start at different times the higher the value the further apart the onset of each word may be for example e With low values the effect is of all the voices singing in unison Depending on other settings low values may also bring out some flanging effects which may be undesirable if your goal is a realistic chorus effect Vibrato Depth Another property that varies with each voice is vibrato which describes how the amplitude varies over time This value determines the maximum variation in amplitude that will occur For example a value of 5dB may alter a chorused voice by varying its amplitude by as much as 5dB louder or quieter than the original e If this setting is extremely low less than 1dB the vibrato may be unnoticeable unless the Vibrato Rate has been set extremely high e If Vibrato Depth is set too high however the sound may cut in and out creating an objectionable warble Natural vibratos occur around 2dB to 5dB Please note that this is a maximum depth just as in the delay settings the vibrato volume may not go as low as the setting indicates at times This limitation is intentional as it gives a more natural feel to the effect Vibrato Rate The Vibrato Rate determines the maximum rate at which vibrato will occur e With very low values instead of a vibrato effect the resulting voice will slowly get louder and quieter like a singer that cann
550. that the track will be ready to record onto when the Record button in the Transport Controls is pushed When recording into a track the input will be fed from the currently selected recording device This command does the same thing as pressing the R button on the track console Track Volume This command displays a small floating window which includes a slider for adjusting the track s overall volume 252 CHAPTER 13 Navigating the Multitrack View Track Volume Window Dragging the slider s scroll control upward raises the track s volume while moving the scroll control downward reduces the volume You may also adjust the track s volume by entering a decibel value in the box above the slider Note Each track has a global volume setting while each block within the track has an individual volume setting Track Pan Use this command to display a small floating window which includes a slider for adjusting the track s overall pan Track Pan Dialog Dragging the slider s scroll control to the right pans the track to the right while moving the scroll control to the left pans the track to left You may also adjust the track s pan by entering a value from 100 hard left to 100 hard right in the box to the right of the slider Note Each track has a global pan setting while each block within the track has an individual pan setting Effects Settings This command does the same thing as pressing the FX button in the
551. the best tradeoff between SNR distortion and noise modulation e Shaping Select one of the several noise shaping presets known as noise shaping curves to have Adobe Audition determine the placement when moving noise to different frequencies The same amount of noise overall is present but you can choose less noise to be placed at one frequency at the expense of placing more noise at another You can also specify that no noise shaping is used Wave In Tab This area is where you specify Adobe Audition s parameters for recording waveforms If you have multiple sound cards or a single card that has multiple inputs they ll show up as choices in the drop down list at the top left corner of this window The capabilities of the selected recording device are shown in the Supported Formats table A Yes or No is shown for different combinations of sample rate and bit resolution Device Properties x x Wave Out IDI Out MIDI In Ext Controller SB Live Wave Device vj Order fist Change JV Use this device in Edit View Get 32 bit audio using 3 byte Packed PCM 4 byte PCM 4 byte IEEE float Multitrack Latency 0 Supported Formats 8 bit 16 bit Rate Mono Stereo Mono Stereo 8K Yes Yes Yes Yes 11K Yes Yes Yes Yes 16K Yes Yes Yes Yes Yes Yes 24 bit 3 byte packed supported 32 bit 4 byte PCM supported 32 bit IEEE Float supported Adjust to zero DC when recordi
552. the Panner Point position and listen for the dynamic pan setting you just created If you prefer to keep your track panned to a fixed point throughout the duration session then simply deselect the Pan Envelopes checkbox This removes the Envelopes from the waveform display and allows you to set the Panner Point to any static position you like You can toggle the Pan Envelopes setting on off and any envelope points you have created for this track will be retained Note that if the Pan Envelopes checkbox is not selected you can drag the Panner Point during playback and hear your static pan positioning in real time Zooming There are several options for zooming in and out within the Waveform Display To access the four available Zoom commands place the mouse cursor over the time ruler which runs across the bottom of the waveform display and right click to bring up the context menu The four available options here are e Zoom In e Zoom Out Zoom Full e Zoom to Cursor You can also zoom in to a specific time area by right click dragging the desired area on the time ruler itself To Zoom back out again right click and choose Zoom Out or Zoom Full from the context menu described above Another handy Zoom method is to place the mouse pointer anywhere within the waveform display and turn the mouse wheel This will zoom into the time area directly beneath the mouse pointer Reversing the mouse wheel rotation will zoom back out incrementally 33
553. the RMS Some users expect a full scale square wave to be 0dB while others expect a full scale sine wave to be OdB Since a full scale square wave is about 3 02dB louder than a full scale sine wave these RMS boxes will adjust by about 3dB when you toggle between them Account for DC If this box is checked when calculating the RMS values the DC offset found is subtracted out before doing the RMS calculation This means that if your signal has a DC offset say a quiet signal that is well above the center line then the actual RMS signal amplitude is actually quite small but could read much higher because of the DC amount So for the most accurate signal relative RMS readings you would want to account for DC Otherwise even a signal that is total silence but has a high DC offset will read as having a high RMS which may not be what you want Window Width Adobe Audition measures the RMS over a window measured in milliseconds of this size when calcu lating the RMS minimum and maximum values Recalculate RMS After adjusting the Window Width value click this button to recalculate the RMS values based on the new window size 203 Chapter 11 Favorites Menu Edit View he Favorites menu allows you to create customize and save your favorite Adobe Audition effects scripts and even third party tools the latter using command line executables All of the favorites you create appear on this menu You can also categorize the menu items int
554. the View gt Wave Properties gt Text Fields window this information should stay with your audio file through its lifetime Here are the major components of the Sampler window Target Manufacturer ID You can t edit this information but this field will show a proper value if a sampler has written a wav file with this sampler information chunk present ADOBE AUDITION 95 User Guide Target Product Code You can t edit this information but this field will show a proper value if a sampler has written a wav file with this sampler information chunk present Sample Period The sample rate or within 1Hz of it is automatically placed into this box You can change the text in this field if you wish the sampler to think the data is at a different rate than it actually is Note Use this control to select this base or root note on a sampler that the current audio file is to be assigned to The audio file s original pitch will be preserved whenever this key is played on a sampler Fine Tune The actual tone can be entered in this text box in values as precise as 1 100th of a cent Enter the number of cents above the Note that the tone actually is Find using Analysis Press this button to have Adobe Audition analyze the audio file to automatically determine the Note and Fine Tune values e Ifa sampler loop is selected in the Sampler Loops list the frequency at the center of that loop is entered into this field for the Note and Fin
555. the bottom part of the Wave tab of the Playback Devices dialog you ll see a list of existing Busses If it s the first time you ve used busses in Adobe Audition just one bus Untitled Bus A will be listed You can press New Bus to add another bus to the list up to 26 if you want 3 Click on the name of the bus you wish to add the track to 4 Press the Properties button to display the Bus Properties dialog 5 Use the Bus Properties dialog to give the bus a friendly name and change its output device if desired as well as assign any Real Time Effects to the bus Press OK when youre done 6 Press OK to close the Playback Devices dialog Notice how the track s Output button now shows the letter of the bus About Real Time Effects Adobe Audition offers three types of effects Real Time Off Line and Multitrack Real Time Effects have parameters that may be adjusted while listening to the results as part of the mix in the Multitrack View Since they re non destructive they don t actually change the physical sound files in the tracks they re applied to In addition Real Time Effects may be used like Off Line Effects in Adobe Audition s Edit View 269 270 CHAPTER 13 Navigating the Multitrack View Off Line Effects can be used on waveforms that are part of a Multitrack Session but not in real time You ll need to switch to Edit View before you can apply them Off Line Effects are destructive which means th
556. the right of the graph correspond to the low shelf mid band and high shelf bands from left to right A quick way to get a different sounding reverb is to just adjust these sliders up or down Frequency Sliders Low Shelf Mid Band High Shelf These are the frequency sliders directly beneath the graph The cornering frequency for the shelves or the center frequency for the mid band can all be set to any frequency desired For example to warm up the reverb you might want to lower the High Shelf frequency while also reducing its amplitude QBox This value describes how wide the mid band s affective area is frequency wise Lower values affect a wider range of frequencies hence higher values will narrow the effective range For distinct resonance use values like 10 or higher For just general boosting or cutting a wide range of frequencies use lower values like 2 or 3 Sometimes it may be desirable to enhance some quality of the audio being processed like to bring out a singer s voice Try boosting the frequencies just around the natural frequency of their voice to enhance resonance in that range say in the 200Hz to 800Hz range 134 CHAPTER 8 Effects Menu Edit View ms Box This is the time specified in milliseconds that it will take for the reverb to decay at each frequency following the coloration curve For more colored reverbs use lower settings like 100 to 250 Values up to 700 work fine Basically the lower the v
557. the script There are three types of scripts The type created depends upon Adobe Audition s state when you initiate the recording e Scripts that start from scratch These scripts start with no waveform opened and their first command is File gt New e Scripts that work on the current audio file This type of script operates on the entire waveform It requires a file to be opened but with no selection made Actions begin at the playback cursor position in the waveform and will affect any data present at that point 210 CHAPTER 12 Options Menu Edit View e Scripts that work on a highlighted selection This type requires a highlighted selection to be made All actions in the script pertain only to the portion that is highlighted leaving the rest of the waveform untouched Script Collections This text area displays the title of the currently opened script collection If the collection in use hasn t been named New Collection will be displayed To name a script collection press the Edit Script File button The Windows Notepad applet will be launched with the script file loaded Look for the Collection entry it s on the first line of the script file and overwrite New Collection with your new title Then save the file Note The text in the Script Collections field will not reflect the name change until you reload the script Scripts List This area lists the names of all scripts in the currently opened collection Highlight a scr
558. the selection is continuously played Music Adobe Audition s Music function can use any highlighted selection as a voice to synthesize music or harmonize a wave using a particular chord While this function is far from a complete MIDI authoring studio it provides a quick and simple way to put a sample to music 180 CHAPTER 8 Effects Menu Edit View Making musi x Song Title Just Messing Around X New Song Chord Type Mai0 47 gt C26 3C 4 o dd dd sd ffi fuaiyths amp Q a gt fate isso Teton Key Octave I Constant Duration Close Listen 5 240 Ic zi c zi M Exact Tune Help Music dialog Before you bring up the Music dialog you must first highlight the range of the current waveform you wish to use as a quarter note If no range is selected Adobe Audition will use the data on the clipboard Keep in mind that the clipboard data will be filled with your sample automatically once music is generated Thus selecting music a second time will automatically use your last sample Song Title If you wish to keep a sequence of notes you ve created give it a name in the Song Title box You can choose previously saved songs from the drop down list of song titles you ve created The actual song data is saved in the file SONGS INI in your Adobe Audition data folder New Song Press this button to clear the current song note sequence Notes Simply drag the notes and rests you desire to the sta
559. the wide variations in the level of a signal produced by a vocalist who moves frequently or has an erratic dynamic range Creative Sound Blaster See VOC Crossfade Fade from one audio track to another Crosstalk Undesired leakage of audio from one track to another which was common on analog tape This is impossible in Adobe Audition since each track is stored as a separate digital audio file Cue List A list of time offsets or locations defined within an audio file A cue can be either a point that specifies a cursor position or a range that specifies a selection You may define and save an unlimited number of cues in Adobe Audition s Cue List for later recall or for assembling in Adobe Audition s Play List DAC Digital to Analog Converter The hardware responsible for converting a digital audio or video signal into an analog signal that can be played back DAT Digital Audio Tape A standard two track digital audio tape format DAT tapes are sampled at 16 and 24 bits and 32 000 44 100 and 48 000 samples per second The latter is considered DAT quality ADOBE AUDITION User Guide DC Offset Many sound cards record with a slight DC offset which means that direct current is introduced into the signal by the card causing the center of the waveform to be off from the zero point in the waveform display This is seen as the waveform being shifted above or below the center line in the Wave Display and can cause a click or pop to be
560. thed differently than constant bands like a 60 cycle hum Generally increasing the smoothing amount up to 2 or so will reduce the burbly background artifacts at the expense of raising the overall background broadband noise level 174 CHAPTER 8 Effects Menu Edit View e Transition Width This setting determines how sharp the division is between what is considered noise and what should be kept For instance with a Transition Width of zero a sharp noise gate type curve is applied to each frequency band If the audio in the band is just above the threshold it stays if it s just below it s truncated to silence Conversely you can specify a range over which the audio will fade to silence based upon the input level For example with a transition width of 10dB and a cutoff point scanned noise level for the particular band of 60dB then audio at 60dB would stay the same at 62dB it would be reduced some to about 64dB and so on until audio at 70dB would be removed entirely Again if the width is zero then audio just below 60dB is entirely removed while audio just above it would remain untouched Negative widths simply go about the other side so in the above example a 10dB width would have ranged from 60dB to 50dB Preview Press the Preview button to audition the current Noise Reduction setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews
561. them here and adjust their Volume Increment value specified in db Device Order The Device Ordering Preference window allows you to set the order in which Adobe Audition uses your system s playback recording MIDI output and MIDI input devices The order of preference chosen determines which tracks get assigned to which devices when loading multitrack sessions on systems with different sound card configurations Move between the tabs to adjust the parameters for each type of device ADOBE AUDITION 233 User Guide Playback Devices Tab Playback Devices Recording Devices MIDI Output Devices MIDI Input Devices Please choose which device will be used in Edit View and what devices you would like to use in Multitrack View The top Multitrack Device in the list will be Device 1 the second Device 2 and so on Unused Playback Devices Multitrack Device Preference Order Tst SoundMAX Digital Audio EV Wave Mapper lt lt Remove if Use in EV EV This device is to be used in Edit View emea Help The Playback Devices tab of the Device Ordering Preference Dialog Unused Playback Devices The items in this list are the playback devices on your system not currently utilized by Adobe Audition Use gt gt Press this button to move a selected item from the Unused Playback Devices list to the Device Preference Order list lt lt Remove Click on this button to remove a highlighted item from the Device
562. ther open waveform whose name isn t listed use the Switch To command or Adobe Audition s Organizer window Switch To Access the Switch To command to show a list of all open files Click on a file s name to make it the active file in the Wave Display x Mi Wood Block wav E Wine Cork wav HB Space Whoosh wav E Mud Bubbles wav fl Marina wav GE Guitar Rhythm wav HD Explosion wav HB Drums Syncopated wav Hl Comedy Trumpet wav E Cymbal Finger wav Switch To Window Note If you have a waveform open that has a cue range in it there will be a sign next to its name Click on the sign to expand the entry so you can jump directly to any of the cue ranges it includes Instead of using the Window menu try using the Files tab of Adobe Audition s Organizer window To activate the Organizer window go to the View Menu and click on Show Organizer Window or press the Alt 9 keyboard shortcut i Chapter 3 Wave File Formats Supported by Adobe Audition order they appear in Adobe Audition s Save Waveform As dialog Some of these formats will have options so look he following is a list of the various wave file formats that Adobe Audition currently supports arranged in the for the Options button to be enabled in Adobe Audition s Save Waveform As dialog Note If you want to load from or save to a format that s not listed here you may be able to use an ACM Waveform codec to do so To do this use F
563. these settings only box isn t checked all of the values can change over the duration of the audio file so that they morph from the initial to final settings Q You can generate several effects with these five overtones Experiment and have fun dB Volume Use the db Volume sliders to select the overall gain for each of the right and left channels from 80db to OdB You can control both channels independently when generating stereo tones Phasing Choose the appropriate phase e Start Phase is the starting location in the cycle that will be produced If you start at 0 degrees phase waves will start at the baseline If you start at 90 degrees the wave will start at full amplitude generating a noticeable click as well If you are working in great detail with tones and need to have the phase just so this option allows you to control that e Phase Difference purposefully allows the left channel to be out of phase with the right channel A value of 0 will be completely in phase and 180 will be completely out of phase e Change Rate dynamically changes the relative phase between the two channels of a stereo audio file over time at a given rate For example if you enter 1Hz the phase difference will cycle through 360 degrees each second 194 CHAPTER 9 Generate Menu Edit View DC Offset The DC Offset value entered here adds a constant DC Direct Current amplitude to the tone which shifts the entire waveform up or down by the
564. thing is dithered Symmetric dithering has just as many samples added above zero as below zero By contrast non symmetric dithering just toggles between 0 and 1 Sometimes in a final dither this may be desired to reduce the bit range of the dither However both methods produce identical audible results in every respect Smooth Delete and Cut Boundaries Check this box to have Cut and Delete operations smoothed at the splicing point This will prevent audible clicks at these locations Smooth all edit boundaries by crossfading When applying an effect enable this option to automatically apply a crossfade to the starting and ending boundaries of the selection This will smooth any abrupt transitions at these endpoints thus preventing audible clicks when filtering small portion of audio You can enter a value in milliseconds in the crossfade time box to specify the crossfade duration to be applied Auto convert settings for Paste When pasting different sample formats Adobe Audition uses these settings when auto converting the clipboard to the current sample format Valid settings range from 30 to 1000 e Downsampling quality level Enter a value 30 to 1000 for downsampling quality e Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones e A lower quality setting requires less processing time but will result in certain high frequencies being rolled off leading to muffled soundin
565. time to process a track when you lock it unlocking it is instant Try locking down tracks that you are not working with at the time to save some CPU power for your other work FX Button Click on the FX button to bring up the track s Effects Rack The Effects Rack is used to apply any combination of real time off line and multitrack effects to the track After effects have been applied to the track the button is renamed to whatever you ve typed as a friendly name for the effects rack If you haven t given a friendly name to the effects rack a number is added on to the button s label For instance FX will become FX 2 when effects have been applied to Track 2 Press the Lock Button to the left to lock in the effect s which disables the FX button Right click on the FX button for quick access to the track s effects rack settings and mixer or to bypass the effects on that e track When track effects are bypassed they take no CPU time Note The FX Button is found in the Vol EQ and Bus areas Track Equalization Fields The Low Mid and Hi Track EQ fields show the current low frequency mid frequency and high frequency equalization amplitude for the track By default they re all set at 0 However you can easily change a field s value from 32 to 32 by left clicking on it and sliding your mouse horizontally or vertically Or right click on an EQ field to bring up Adobe Audition s Track Equalizers dialog which gives
566. tion s Wave Block Looping dialog so that you can adjust the wave block s loop properties More information about the Loop Properties dialog can be found in the Navigating the Multitrack View Screen chapter Allow Multiple Takes Wave Block Only If a single wave block is highlighted this command will appear on the Multitrack View s Edit menu When you enable this option by clicking on its menu command causing a check mark to appear next to its name a Take History is preserved for the selected waveform in the event that it s recorded over Material is not overwritten when recording into an existing waveform block Instead a new instance or take of the block is created and recorded into preserving the previous waveform With Allow Multiple Takes disabled recording is done into the same spot each time Note The Punch In function will automatically enable Allow Multiple Takes for the selected Punch area 302 CHAPTER 16 Edit Menu Multitrack View Take History Wave Block Only If a single wave block is highlighted this command will appear on the Multitrack View s Edit menu The Take History function is available for any track that has the Allow Multiple Takes command enabled With multiple takes material is not overwritten when recording into an existing waveform block instead a new instance or take of the block is created and recorded into preserving the previous waveform Take History is simply a
567. tions gt Settings window and are used to store these temporary files You can temporarily change that reserved space by entering a different amount in MB that you wish to keep free on those drives In case that free space gets low Adobe Audition won t make use of it Press the Set New Reserves button to save the new values you ve entered as the program s defaults Total Available Space This field displays the total amount of hard drive space available to Adobe Audition It s the sum of the free space on your Primary and Secondary drives This value should increase as you free up space Cancel Last Operation Press this button to stop any action in progress such as the application of an Effect or any other edit The becomes useful only if the Free Some Hard Drive Space window has been automatically invoked by Adobe Audition indicating that you have run out of storage space ADOBE AUDITION 59 User Guide MRU List The Most Recently Used list displays the last nine audio files opened in Adobe Audition You can quickly open any of these files providing they haven t been deleted or moved by selecting it from the list with your mouse Or type the number that s associated with the desired file Exit As youd expect this command closes Adobe Audition If there are any modified waveforms that are open that havent been saved to disk you ll be asked if you want to save them All temporary files that Adobe Audition has created are delete
568. tive 2 values Boosting a low cut filter while reducing the feedback setting is identical to reducing a high cut filter and increasing the feedback setting Channel Buttons Several options are provided for use with stereo source audio e Left Only The delay effect appears only on the left channel of stereo audio e Right Only The delay effect appears only on the right channel of stereo audio e Discrete Stereo The delay effect appears on both channels of stereo audio e Stereo Swap The delay effect for the left channel is mapped to the right channel and vice versa e From Left to Right The audio from the left channel is delayed and put onto the right channel e From Right to Left The audio from the right channel is delayed and placed onto the left channel e From Center to Surround The audio from the center channel the audio common to both left and right channels is delayed and placed into the surround channel the left channel inversed with respect to the right channel To spread out the effect in the stereo domain at least one delay unit in the group should be cross channel or single channel only Presets Adobe Audition comes with several Multitap Delay presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Multitap Delay setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe
569. to dB Boost Input by 6 dB Look Ahead Time 7 ms 5 20 Release Time 100 ms 40 200 Ix M Link Left amp Right Clipping Statistics z Preview i Left Right TB Min Sample 26025 30645 ae Max Sample 24636 31789 k Percent Clipped os 248 Close Cancel Gather Statistics Now Help Hard Limiter dialog dudi Here are the major components of the Hard Limiter window Limit Max Amplitude to This is the maximum sample amplitude that will be allowed To avoid clipping when working with 16 bit audio set this value to no more than 0 1dB if you set it to 0 5dB you ll have a little more headroom for any future edits Boost Input by Before performing the limiting the audio may be pre amplified first To make a selection louder and ensure that no clipping occurs you can use this to amplify it and soften the regions that would otherwise clip similar to what is commonly done with the audio on TV commercials Enter the desired amplification value as measured in dB Look Ahead Time This is the amount of time measured in milliseconds that it will generally take to attenuate the audio before the loudest peak will be hit Note If this value is too small audible distortion effects may be heard Make sure the value is at least 5 ms Release Time This is the time measured in milliseconds that it takes for the attenuation to rebound back 12dB or roughly the time it would take audio to resume nor
570. to give them focus e Access the Vocoder from the Effects pull down menu the Effects toolbar or the Effects section of the Organizer window The following are the major components of the Vocoder window Control Wave From this drop down list choose the waveform from any that are already active in the session to act as the control signal This is usually a vocal of some kind Process Wave Use this drop down list to select the waveform from any currently open in the session window to act as the process signal This is normally some kind of synthesized sound to use to replace the vocal chords Output To Choose the track to output the resulting waveform This entry defaults to the next available track FFT Size The FFT Size parameter specifies the size of the FFT to use which can affect processing speed and quality ADOBE AUDITION 323 User Guide e Higher values like the default value of 4096 mean cleaner sounding filters Even larger FFT sizes should produce extra smooth results but will take a bit longer to process e Smaller numbers make for a faster processing time but the results may sound choppier Overlays This is the number of FFTs that are overlapped in processing the vocoder More overlays can produce smoother results but will take longer to process Q Values of 3 to 12 work well Interval Size This sets the time interval measured in milliseconds per FFT taken Values between 10 and 30 milli seconds usually work b
571. to run the Clip Restoration filter on because DC bias adjusted material modifies the clipped area and makes it unrecognizable as being clipped You can do a DC adjust after de clipping of course Note You can monitor clipping occurrence during recording or playback by watching the level meters under the waveform display If clipping occurs the box es on the far right of the level meters will light up Input Attenuation This parameter measured in dB specifies the amount to amplify the signal by before processing Overhead This is the amount of play there is measured in percentage for detecting clipped regions A value of zero will consider only perfectly horizontal line type clipping to be clipped A value of 1 will allow the horizontal line to vary up to 1 away from maximum amplitude Values of about 1 work best since they catch almost everything which leads to a more thorough repair Minimum Run Size This value specifies the length of the shortest run of clipped samples to fix A value of 1 will fix all samples that seem to be clipped while a value of 2 won t fix a clipped sample if it s not followed or preceded by another clipped sample ADOBE AUDITION 167 User Guide FFT Size Set an FFT Fast Fourier Transform Size measured in samples if your audio is severely clipped due to for example too much bass In this case you want to try and estimate the higher frequency signals in the clipped areas Using the FFT Siz
572. to the final filter settings will actually morph from one to the other If this is not checked the settings simply change in linear fashion over time For example if you leave Morph unchecked and have a spike at 10kHz for the initial filter and a spike at 1kHz for the final filter the spike at 10kHz will gradually decrease and the spike at 1K will gradually increase over time However frequencies between 1kHz and 10kHz won t be affected If morphing is on the spike itself will ooze from 10kHz down to 1kHz passing many of the frequencies in between For a cool example of morphing try choosing Passive mode and set an initial curve with the first half at 100 and the Q second half at zero For the final curve set the right 1 10th or so at 100 with the rest at zero This selects high frequencies for the initial configuration and low frequencies for the final configuration To get a nice blending from high to low choose Morph to include all the frequency combinations between the two filters To see exactly what s happening as the filtering changes from the initial configuration to the final push the Transition Curve button to view the actual settings that will be used over the duration of your selection Morphing is generally any technique used to transform one object into another In the case of filter settings it is a way to smoothly transform one setting represented by a graph to another by estimating all the possible combinati
573. to the right of the frequency slider Amplitude Sliders The horizontal Lo Mid and Hi Amplitude Sliders to are used to increase or attenuate the EQ curve s low middle and high frequencies respectively Move a slider upwards or click on the arrow at the top of the slider to raise the frequency s amplitude while bringing it down or clicking on the arrow to the bottom of the slider decreases the amplification of the frequency You may also specify the slider s amplitude by directly entering the desired dB value in the text box at the bottom of the amplitude slider Show Track Properties Checkmarking this item displays Adobe Audition s Track Properties dialog where you can adjust parameters for a selected track s volume and panning output and record devices and more 292 CHAPTER 15 View Menu Multitrack View Track Properties l Feer Eoo Pe oo Solo track Track Properties window The Track Properties window is dockable which means you can reposition it at one of several places in the Adobe Audition interface Or you may detach it and have it float above Adobe Audition s main window Here are the major components of the Track Properties window TrackTabs The first time you click on any track in Adobe Audition s session window a tab is added for that track to the Track Properties window Click on a tab which contains the name of the track to adjust its associated track s settings The X contro
574. ton to display the full path drive folder s filename of the entries in the File pane Push it again to show just the filenames Note Hold down the Shift key to select multiple contiguous files in the Files pane holding down the Ctrl key allows you to highlight multiple non contiguous entries Effects Pane The Effects Pane lists all of the effects at your disposal The listing includes all of Adobe Audition s effects as well as all installed DirectX audio plug ins Double clicking on an Effect in the Organizer brings up the dialog to run that effect on the open waveform in the Edit View Dragging and dropping an Effect onto a track in the Multitrack View adds that effect to the track Fies Effects Favortes ac The Effects Pane of the Organizer Window with Group By Category active ADOBE AUDITION 19 User Guide Group By Category With this control pushed down the list is shown as an Explorer like hierarchical tree type display Categories and their entries are shown in the same order as they appear on Adobe Audition s Effects menu With the Group By Category button in the up position all effects are displayed in roughly the same order they appear on the Effects and Generate menus Group Real Time Effects When this control is pushed down the list is shown as an Explorer like hierarchical tree type display where all of the Real Time Effects are grouped together the Off Line Effects are grouped together and the Multi track E
575. top graph Depending on the position you select you can decide whether you want a morphing transition or a linear transition Each type of transition will give different filter settings for the points between your initial and final filter settings For more information about Adobe Audition s graph controls such as how to add and remove control points see the Looking at the Work Area chapter Presets Adobe Audition comes with several FFT Filter presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current FFT Filter setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played 150 CHAPTER 8 Effects Menu Edit View Graphic Equalizer With the Graphic Equalizer you can boost or cut the signal at particular frequency bands and have a visual represen tation of the overall EQ curve Unlike the Parametric Equalizer the Graphic Equalizer uses preset frequency band controls for quick and easy frequency equalization Graphic E qualizer E xj 10 Bands 1 octave 20 Bands 1 2 octave 30 Bands 1 3 octave Gi Requested frequency response Gm Response using current accuracy OA Aa AAAS AAA A AAA Al ol Al dl ol Reset All to Zero Ban
576. trol in its title bar To get rid of the Play List window when it s docked right click on its grab bar and select Close from the pop up menu Or you can simply uncheck the Show Play List item on the Edit menu to close it in either docking or floating mode Here are the major components of the Play List window Show Cue List Click on this button to display Adobe Audition s Cue List window The Show Cue List button is then replaced by the Insert Cue s button Insert Cue s Press this button to add the currently highlighted selection s from the Cue List to the Play List The selection is inserted before the currently highlighted Play List item or at the end if nothing is selected Note The cues must be cue ranges not just cue points for this to work Remove Click on this button to remove the selected Play List item Loops In this field enter the number of times you wish the selected Play List item to loop play again Each item in the Play List can loop a different number of times Play Pressing this button plays the cue ranges in the order listed looping selections if specified Play begins at the currently highlighted item in the Play List and goes to End During playback the Play button turns into a Stop button ADOBE AUDITION 85 User Guide Autocue This control plays the currently highlighted item in the Play List or the first item if nothing is highlighted and stops on the next item in the Play List Thus the next i
577. ts it as a waveform block in Adobe Audition s Multitrack View If there isn t a highlighted segment the entire current waveform is inserted Either way the inserted audio is placed in the next available track at the beginning of the window s timeline Insert Play List in Multitrack Use this command to take all the entries in the Adobe Audition Play List and insert them into the Multitrack View as its own item Use this command if you use the Play List to assemble long montages that come out of a single file Once you re done Q you can insert the montage into the Multitrack View make desired changes and then render the montage to a new single file ADOBE AUDITION 65 User Guide Select Entire Wave Choose this command to select the current waveform It doesn t make any difference if you can t see the entire waveform on screen the whole thing is highlighted O You may also select the entire wave by double left clicking within the Wave Display window Delete Selection This command removes the highlighted portion of the waveform Note Deleted data doesn t go to the clipboard and can only be retrieved using the Edit gt Undo command or by File gt Revert to Saved if you haver t saved the file since deleting Delete Silence Use this feature to have Adobe Audition automatically detect and remove silence between words or other audio It s ideal for cleaning up voice prompts and speeding up narratives without af
578. ts occur during preview playback then the best action is to try moving this slider to the right If you have a fast PC and or if the session you are working on is a small one with few effects and panning envelopes it may be possible to reduce the buffer size and take advantage of lower latency ADOBE AUDITION 339 User Guide Speaker Placement The recommended physical speaker placement is also important for accurate monitoring Ideally the five main speakers should be placed at ear level and each at an equal distance from your listening position The LFE Sub Woofer is a non directional speaker therefore it can be placed anywhere in the room on the floor but it would be practical to try moving it to slightly different floor positions to find the most accurate response within your environment The following graphic illustrates the recommended setup for 5 1 speaker placement Recommended 5 1 speaker placement A Left Surround B Front Left C Center D Front Right E Right Surround Export options Once you have completed mixing your multichannel project you will then want to export it to your desired file format Adobe Audition includes the ability to encode directly to an interleaved 6 channel Windows Media 9 Pro WMA file or to export into two WAV formats The field in the main dialog indicates the currently selected format and this format is retained from your last used export option To select your export encode options select the E
579. u ll be looking at seconds 4 through 27 of that wave in the Edit View The same goes with selection information if you highlight an area then hit F12 or click the leftmost button on the File toolbar to switch views SMPTE Slave Enable With this option turned on Adobe Audition can synchronize its playback to SMPTE time code MTC generated from another device such as a MIDI sequencer or with the appropriate hardware a VCR or tape deck This is commonly referred to as slaving With SMPTE Slave enabled Adobe Audition will update its current sync status in the lower left of the Status Bar to Opened MIDI Input Device when waiting Synchronizing when establishing lockup and Playback Synchronized when actually established Note Before attempting to enable SMPTE sync you ll need to choose a device for MIDI In that is recognized by Windows such as a soundcard s built in MIDI interface a MIDI interface card or other hardware device options To do this go to Options gt Device Properties to bring up the devices window Select the MIDI In tabbed window and then select your MIDI input device from the SMPTE Slave Device drop down list SMPTE Master Enable Besides being able to slave to time code from another source Adobe Audition can generate master time code for another program or a piece of hardware to follow After checkmarking SMPTE Master Enable from the Multitrack View gt Options menu you need to select a SMPTE time code for
580. uble clicking on any preset will instantly set all controls in the dialog box to that preset Whenever you have settings you would like to keep you may enter a name for your settings and press the Add button A dialog pops up prompting you to name your new preset Your new preset is added to the list of other presets which is automatically sorted alphabetically Note Adobe Audition allows you to add two or more presets with the same name Normally you wouldn t want to do this as this can be confusing if the presets are different To remove a preset from the list choose the preset and press Del To modify an existing preset double click on the preset name make your modifications then press Del immediately followed by Add This will delete the old preset and add your current settings in under the same name Graph Controls Many of Adobe Audition s effects use graph controls for adjusting parameters By adding and moving control points on the graph you can tailor the effect to precisely meet your needs 0 20 10 The Graph Control portion of the Dynamics Processing Dialog To work with an Adobe Audition graph control e To add a control point to the graph click in the grid at the location where you want to place the point e To enter the values for a control point numerically right click on the point to bring up the edit box or double click on the graph s curve 22 CHAPTER 2 Looking at the Work Area e To move a po
581. ude of a signal at a constant rate producing a steeper slope at one end of the fade depending on whether you are fading in or out Both Logarithmic In and Logarithmic Out options are at your disposal Note The Crossfade toolbar button uses Linear fades by default Choose the Crossfade command from the Edit menu or right click menu to specify a different crossfade type The fade curves created with Crossfade can be modified by enabling the Show Volume Envelopes and Enable Envelope Editing options in the View menu 308 CHAPTER 16 Edit Menu Multitrack View Loop Duplicate Loop Duplicate will create a specified number of consecutive Images of the selected waveform block creating in effect a loop of the waveform Decide if you want no gaps between each duplicated wave form block or if you wish them to be even spaced by a certain amount Loop Duplicate xj Note For waveform blocks a more efficient and flexible method of looping is to adjust the block s Loop Properties Repititions l Duplicate block 5 times C No gaps continuous looping Cancel Evenly Spaced 0 00 02 61 a ep Loop Duplicate dialog Note For waveform blocks a more efficient and flexible method of looping is to adjust the block s Loop Properties You ll find this command on the menu that appears when you right click on the wave block Repetitions In this field enter the number of times youd like to duplicate the waveform block
582. ue One of the four types of Adobe Audition Cues Beat Cues are just like Basic Cues but they re specifically for marking musical beats Beats Per Minute BPM The number of steady even pulses that occur in a piece of music every 60 seconds The BPM value defines the tempo of the musical selection ADOBE AUDITION 355 User Guide BIOS Basic Input Output System It s the most basic system for controlling a PC BIOS routines are usually stored on hardware on the motherboard of a computer system i e stored in a ROM chip It s the BIOS that handles the instruc tions for starting a computer initializing the hardware and launching the operating system Bit Bits are part of the numbering system used in digital equipment such as computers A bit makes up a larger number called a word which is used to represent the voltage level amplitude of an analog signal The number of bits used to make up a word determines the bit resolution which in turn determines the number of voltage levels possible in repre senting amplitude Therefore greater bit resolutions make for higher dynamic range Bit Resolution a k a Bit Depth The number of bits used in measuring amplitude for a sample Choosing 8 bit resolution will provide 256 possible unique volumes while choosing 16 bit resolution will provide 65 536 possible unique volumes which results in a 96 dB signal to noise ratio Obviously a much greater dynamic range can be repro duced at 16 b
583. uickly switch between Multitrack and Edit View Waveform View Adobe Audition offers two ways to visualize waveform data Waveform View is the default Data is shown as vertical spikes that represent relative volume while time is visualized horizontally Spectral View Spectral View is the other method Adobe Audition utilizes to represent waveform data Spectral View makes it easy to view the frequency components to an audio file over time This mode is handy for spotting which frequencies are most prevalent throughout the waveform The greater a signal s amplitude component within a specific frequency range the brighter the displayed color will be Colors range from dark blue which means that next to no amplitude components exist in this frequency range to bright yellow frequencies in this range are high in amplitude Lower frequencies are displayed near the bottom of the display while higher frequencies are visualized from the middle to top part of the scale Show Organizer Window This command lets you see Adobe Audition s Organizer Window This handy tabbed window allows you to easily open and close files quickly send waveforms to the Multitrack Display choose effects with ease and more Note More information about the Organizer Window can be found in the Looking at the Work Area chapter 80 CHAPTER 7 View Menu Edit View Show Cue List The command opens the Cue List window which is a dockable window This m
584. uld the tick be at half volume then the original audio data will be reproduced at half volume If there are several ticks such as one tick every 100 milliseconds descending in amplitude over time with each being half as loud as the previous tick then the result of convolution with some audio will be that sound echoed with 100ms between each echo and each echo at half the volume of the previous one Interpolate To estimate the values of data points between known data points Interpolation is used in functions where new data must be generated from known data to fill in areas where values are unknown such as the final error correction stage in the playing of CD audio Level or VU Meters Adobe Audition s Level Meters are found by default along the bottom of the main window and are used to monitor the volumes of incoming and outgoing signals The clip indicator to the right of the meters will light up and remain lit when levels exceed the maximum of 0dB Clicking on the clipping indicator at any time will reset it When displaying stereo audio or in a multitrack session the top meter represents the left channel and the bottom the right 359 360 Limiter Limiters reduce or limit input signals that exceed a specified threshold level so that the output does not increase in gain beyond that point In other words a limiter only allows the dynamic range at its input to increase up to a certain point which is determined by the threshold
585. urrently shown waveform in the editing window If the waveform being added is of a different type Adobe Audition automatically converts it as it s opened However better results are achieved if you only append files of the same sample rate since no number crunching is required to change between rates 48 CHAPTER 5 File Menu Edit View Note Appended cue points are automatically placed within Adobe Audition s Cue List making it simple to locate the edit boundaries later Extract Audio from Video The command lets you extract the soundtrack from any type of video file that Adobe Audition supports The Choose a Video File window similar to a standard Windows File gt Open window appears allowing you to select one or more video files The video s audio is placed in an editing window where it can be modified just like any supported sound file Choose a video file 2 x Recent Folders c wideo files E Look in y Video files z e ck e i Dancing Baby avi Space Battle 01 avi Space Battle 02 avi Space Battle 03 avi Space Battle 04 avi Video Camera Check avi File name Space Battle 02 avi Files of type AVI Video avi z Cancel Help Choose a Video File Dialog Extract Audio From CD Use Adobe Audition s Extract Audio From CD feature to digitally pull out sound from audio compact discs and place it into the Wave Display for editing This extraction process is commonly
586. urves when you want very smooth curves instead of straight lines with their discontinuities at the control points Flat Press the Flat button which appears in each of the Gain Frequency and Q bandwidth tabbed windows to reset the curve to its default state of an unchanged signal removing all Control Points Filter Type Three types of filters are offered e Low Pass passes the low frequencies while rejecting or removing high frequencies e High Pass passes high frequencies and removes low frequencies e Band Pass This mode preserves a range of frequencies that is a band while removing all other frequencies Loop Graphs When this box is unchecked the graphs are the same length as your selection so the dynamic changes to your equalization are graphed across the whole selection If you check Loop Graphs the graphs are only as long as specified in the Graph Duration field which is enabled when Loop Graphs is checked so they loop repeatedly over the course of the selection Presets Adobe Audition comes with several Dynamic EQ presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Dynamic EQ setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is cont
587. ust Wave Volume Adjust Wave Pan Wave Block Properties Mix Down to File Mix Down to File Mono Block Color Ctrl K Punch In Crossfade Loop Duplicate Convert to Unique Copy Mute Block Lock in Time Lock for Play Only ejoin Split Adjust Boundaries Trim Cut Full Remove Block Destroy Block remove amp close Shift Backspace Envelopes gt The Block Context Menu for a Wave Block Edit Waveform This command immediately displays the selected wave block in Adobe Audition s Edit View so that you can edit it Loop Properties Select this command which is only available on the Block Context menu when you right click on a wave block to see Adobe Audition s Wave Block Looping dialog xl I Enable Looping m Looping Simple Looping no gaps C Repeatevery 12 seconds Repeat every 19 beats at B5 bpm IV Follow session tempo I Lock position to tempo Source Waveform Information Tempo Matching Fl Number of Beats P9 Tempo Bo bpm Key Nonvoiced Transpose Pitch 0 half steps Wave Block Looping Dialog e Enable Looping When this box is checked the wave block can be looped by dragging the right edge of the wave block ADOBE AUDITION User Guide e Looping Use these options to determine the looping method Simple Looping no gaps With this option chosen the wave block will loop continuously with no spaces between looping instances
588. ust these sliders to set the percentage of echoed wet signal to be mixed with the original dry signal in the final output I Continue echo beyond selection Ea Close I Bypass Cancel Preview Help Achieve effects ranging from a Grand Canyon type Hello ello llo lo 0 to boingy drain pipe sounds by varying the delay amount Change a room s characteristic sound from one with reflective surfaces yielding echoes that have a bright shiny high end to one that is almost totally absorptive very little reflected high end sounds by equalizing the delays Lock Left Right With stereo waveforms the left and right channels may be processed separately When the Lock Left Right box is checked the Decay Delay and Initial Echo Volume scroll bars for the left and right channels move together maintaining the same settings for each channel Uncheck this box to adjust the channels separately ADOBE AUDITION User Guide e Echo Bounce Select this option to make the echoes bounce back and forth between the left and right channels If you want to create one echo that bounces back and forth select an initial echo volume of 100 for the one side left or right and 0 for the other Otherwise the settings for each channel will bounce to the other creating two sets of echoes on each channel Successive Echo Equalization This eight band echo quick filter enables you to choose which frequencies are removed from the ec
589. uter to and from external devices such as a MIDI Keyboard through the MIDI Port of a sound card or other MIDI Interface device MIDI Time Code MTC MIDI Time Code MTC is a method of sending timing information between MIDI capable devices For instance SMPTE which is an audio signal can be converted to MTC to sync to and control Adobe Audition s transport from a device such as a VTR or tape deck MIDI Trigger A MIDI Trigger is simply a shortcut which can be called via a MIDI event such as a Note On or Pitch Wheel MIDI events can be sent from a MIDI keyboard a sequencer or any other device capable of issuing a MIDI command Millisecond ms One thousandth of a second There are 1 000 milliseconds in a second Miniplug A common name for 1 8 inch plugs and jacks sometimes known as minijacks Miniplug jacks are the most common interface for a sound card s analog inputs and outputs Mixdown Mixdown is the process of combining the output of all enabled tracks or selected tracks in Multitrack View into a new stereo waveform When doing a Mixdown track properties such as Volume and Pan are reflected in the resulting waveform Mixdown is generally the final operation which is done when youre happy with the way your session sounds A Mixdown can also be used to create submixes which are mixes of selected tracks such as all of the drums Submixes are useful for cleaning up your workspace Mixing Mixing is the process of combining mu
590. v ese eee eee eee eee nee teen ences Mp3Pro Mp3 lt civvescshdsuian an a E ood ca r A dee da aw Next Sun Gau Snid scvscsteveeeiiviaate bdaehentedeviesentee SampleVision SMP srir riren owe ieee E teats ese nds Windows PCM Wav earannan bevaeta E RRAN Windows Media Audio wma se eee cece e eee ene ence eee PCM Raw Data pcm aW we eee eee eee eee nee Navigating the Edit View About Edit VIEW aicceicissdnicapecinoeieetasanend E LEAREN Navigating the Wave Display soe eee eee ee eee eee ee Waveform View Spectral View oo se cece cence eee ene eee eeee Horizontal Ruler ccceicesianseree ca dedean stay sadam namees gua Chapter 5 Chapter 6 Vertical Ruler f c25ccesctotdeSientdenagertaceneiedob aemadesa eed 40 Recording in Edit View oo cece cece eee cence ence e nee 41 Wave Display Right Click Menu oo eee ee eee eee eee ener e eee 42 File Menu Edit View NeW caspispnn nipit tesa Taaranmnade samen PE E a i 45 OPEM menr o EE E TE O E E 46 OpENAS xaiciaracmc EE R A RAE O 47 Open Append cscccscadvavicnnsavedasedimemertaeseeeinebetees 47 Extract Audio from Video 1 eee eee cece eee eee eee e ences 48 Extract Audio From CD 2 3acacseae veneer A scaatintauatan 48 ReverttoSaved erorien E iean AE E ENO ETARA 51 COSE a EE AEON A E E AA 51 Close All Waves and Session oe eee eee eee eee e eee AAEE 51 Close Only Non Session Waveforms see eee eee e eee e eee 51 SAVE acacia sig fiasisw dac
591. ve file in use until you save the file Device Devices are used to send data into and out of Adobe Audition This includes both Wave and MIDI devices Wave devices generally take the shape of sound card Inputs and Outputs and are used for the recording and playback of audio material while MIDI devices are used to send performance and sync information to Adobe Audition and other MIDI enabled programs or hardware Devices are selected in Options gt Device Properties Dialogic ADPCM See VOX DiamondWare Digitized See DWD Digital Signal Processing DSP The process of transforming a digital audio signal from one form to another via complex algorithms Examples include filtering or creating a sound simulation effect such as a reverb or echo DIMM Dual Inline Memory Module A type of RAM DirectX DirectX formerly ActiveMovie is a development platform designed by Microsoft for 32 bit versions of Windows which provides an open standard for audio plug ins DSP modules and other audio tools based on this standard can be used by any application that supports the ActiveMovie DirectX architecture such as Adobe Audition Dither Dithering is the process of adding small amounts of noise to a digital signal so that fainter audio below the noise you add can be heard that would otherwise be truncated away when converting from a higher bit rate to a lower one e g converting 24 bit to 16 bit DMA Direct Memory Access A method of transferring data
592. veform block that lies within this highlight will be retained or exposed removing that which is outside of the highlight or including material inside the selection that is not currently revealed For example with a 5 second waveform block highlighting the middle second and choosing Adjust Boundaries will trim off the surrounding material the first two seconds and the last two seconds leaving just the middle second If you decide you ve trimmed off too much you can highlight the middle second plus a little to the right for instance and again choose Adjust Boundaries to bring back that little bit to the right thereby lengthening the waveform block 268 CHAPTER 13 Navigating the Multitrack View Note To fine tune your adjustments in the preceding example you could also have double clicked on the trimmed block to bring up the Edit View double clicked to highlight the displayed area then zoomed out to adjust the highlight boundaries to your satisfaction When finished switch back to Multitrack View the highlight will be retained and choose Adjust Bound aries to have the waveform block readjust to match your highlight Note Unlike the Trim command in Adobe Audition s Edit View using Adjust Boundaries to trim doesn t remove any data from the actual waveform Trimming in Multitrack View simply tells Adobe Audition to disregard this material when playing back You may return any trimmed waveform to its original state at any time
593. veform is 308 kilobytes KB in size File size time This figure tells you the length measured in time of the current waveform For instance 0 01 247 means the sound file is 1 247 seconds long Free Space K This option lets you see how much space is available on your hard drive A typical display might be 7028 32 MB free 28 CHAPTER 2 Looking at the Work Area Free Space time Check this item to have Adobe Audition display the amount of available time left for recording based upon the currently selected sample rate This value is shown as minutes seconds and thousandths of seconds For instance if Adobe Audition is set to record an 8 bit mono waveform at 11 025 kHz the time left might read something like 4399 15 527 free Change the recording options to 16 bit stereo at 44 100 kHz and the remaining time value becomes 680 44 736 free Keyboard Modifiers Select this option if you wish to have the status of your keyboard s Ctrl Shift and Alt keys shown in the status bar Window Menu Edit View When youre working in Edit View mode the Window menu gives you a simple way to switch between open files Currently Open Waveform List Entries for up to 10 open waveforms are listed Note If you have more than 10 waveforms active only the last 10 opened will appear on the Windows menu Think of this section of the Windows menu as a MRU Most Recently Used list of open waveforms If you need to access ano
594. verb is smoother and doesn t have as many distinct echoes In general lower values down to 0 simulate smaller rooms e Higher values cause more variation in the reverb amplitudes and add more spaciousness by creating distinct reflec tions over time Generally speaking higher values up to 60 simulate large rooms ADOBE AUDITION 141 User Guide Q A setting of 100 and a reverb length of 2000 milliseconds or more creates interesting canyon effects Mixing The Mixing section provides the following options Original Signal dry This setting determines how much of the unprocessed dry signal is mixed into the final output In general the more reverb you add the lower the original signal volume should be In most cases a value of 90 or so should work well To add spaciousness to an instrument keep the dry signal higher or at 100 If you re trying to achieve a special effect with reverb you might want to reduce the volume of the original signal If the reverb is so great that audio begins to clip try reducing both the dry and the reverberated signal strength Reverb wet This setting determines how much of the reverberated wet signal is mixed into the final effect output In modern production the wet amount should ordinarily be lower than the dry signal to add spaciousness to a track However you may want to increase this amount to simulate physical distance from the audio source where reverb is heard in greater prop
595. vertically Ctrl P Display Wave Properties in Edit View only display Advanced Session Properties in Multitrack View Analyze Menu Shortcuts Alt Z Toggle the display of the Frequency Analysis window Options Menu Shortcuts F10 Toggle the monitoring of the input signal in the Level Meters F4 Display the Adobe Audition Settings dialog F6 MIDI Trigger Enable F7 SMPTE Slave Enable P MIDI Panic reset all MIDI devices Alt K Open the Shortcuts Keyboard amp MIDI Triggers dialog Transport Shortcuts Alt P Play normally Alt S Stop playback or recording Space Toggle between Play and Stop Ctrl Space Toggle between Record and Pause Shift Space Toggle between Play to End and Pause Ctrl Shift Space Toggle between Play All and Pause Ctrl Alt Home Move Play cursor to previous cue or beginning of waveform or ses sion Ctrl Alt End Move Play cursor to next cue or end of waveform or session ADOBE AUDITION 351 User Guide Help Menu Shortcuts F1 Display the Help file s Quick Reference section Keyboard Shortcuts Dialog The Keyboard Shortcuts dialog Options gt Keyboard Shortcuts is where you can customize Adobe Audition s existing keyboard shortcuts as well as create new ones One of Adobe Audition s best features is that most functions can have a keyboard shortcut assigned to them which can make editing much faster
596. vigating the Multitrack View Zi untitled ses File Edit Yiew Insert Effects Options Help Files Effec es PIPES ee curam B in i Trac fn yr JE Forest Rain POMENE pe o mr r 1 Horizontal Ruler p lole EVEN FE Pepe CAE ESES EES EET Time Displa Level Meters Multitrack View About Images When you re working in Adobe Audition s Multitrack View and you move a waveform MIDI file or video soundtrack from one track and place to another or create a series of duplicates for looping you aren t actually moving the original audio file data in any way In fact youre manipulating a virtual image of that waveform or waveform range in a non destructive fashion that doesn t affect the original audio file in any way Essentially an image is a set of playback instructions that are tagged to the original audio file s For example creating a series of 16 loops within the Multitrack View window doesn t actually waste disk space by making sixteen copies of the original waveform Instead the session file will instruct the program to playback the same portion of the original audio file the image 16 times in a repeating fashion This concept lies at the heart of modern day hard disk editing ADOBE AUDITION 241 User Guide About Blocks Blocks are actually images of waveforms MIDI files or video soundtracks that are graphically displayed within the Multitrack View that allow you to mix move copy loop alt
597. volume balance Moving the slider to the left or clicking on the arrow at the left of the slider reduces the volume of the right channel while dragging it to the right or clicking on the arrow to the right of the slider decreases the left channel s volume You can also set the wave block s panning parameter by directly entering the desired percentage in the text box to the right of the Panning Slider Negative numbers such as 100 denote a left pan while positive numbers such as 100 mean a right pan ADOBE AUDITION User Guide Wave Block Properties Wave Block Only If a single wave block is highlighted this command will appear on the Multitrack View s Edit menu It brings up the Wave Block Properties dialog which displays information on the selected waveform block You can use this dialog to change waveform block properties such as position panning volume and more x 72 dB AI E gt fas al Left Pan Right Filename Path Timpani Roll A 2 fl e Asounds sfe Timpani Roll 2 Time Offset Hue e7 0 00 01 40 w E gt I Mute Lock in Time Tl Lock for Play Only Wave Block Properties dialog Volume Adjust the Volume slider or enter a decibel value in the box above to set an overall volume level for the waveform block Note This volume setting is independent of the track s overall volume Track volume is set in the Track Info dialog Pan Adjust the Pan slider or enter a pan amount 100 i
598. w chapter Q Pressing the F4 key is a fast way to display the Settings dialog 328 CHAPTER 19 Options Menu Multitrack View Device Properties The Device Properties dialog is where you tell Adobe Audition which devices to use for playback and recording of waveforms as well as input and output of MIDI signals Note Complete documentation on the Device Properties dialog can be found in the Options Menu Edit View chapter Device Order The Device Ordering Preference window allows you to set the order in which Adobe Audition uses your system s playback recording MIDI output and MIDI input devices The order of preference chosen determines which tracks get assigned to which devices when loading multitrack sessions on systems with different sound card configurations Note The Device Order dialog is fully documented in the Options Menu Edit View chapter Shortcuts Keyboard amp MIDI Triggers Shortcuts are used to speed up the editing process by allowing you to execute almost any command in Adobe Audition from your computer and or MIDI keyboard For example instead of using your mouse to go to the Edit menu and selecting Cut to cut the highlighted portion of a wave block you can simply press Ctrl X Likewise you can execute commands from a MIDI keyboard a sequencer or any other device capable of issuing a MIDI command This type of shortcut is referred to as a MIDI Trigger An example of this would be as
599. w PCM As If a source file is unreadable or in a raw format without any header information then Adobe Audition s Batch Processor needs to know what file type to assume for the data Pressing the Open Raw PCM As button allows you to define a global file type for interpretation in such cases you will need to set the sample rate channels resolution and formatting This ensures that the batch process will run continuously without interruption by dialogs asking for input data formats on headerless files Begin Press this button to begin batch processing all files in the Source Files list If you want to convert several files from one format to another say from wav to mp3 try using File gt Batch File Convert instead Settings You can customize Adobe Audition s colors use of memory and hard disk space spectral view behavior when pasting and miscellaneous other settings in Options gt Settings See below for information on the individual settings available Q Pressing the F4 key is a fast way to display the Settings dialog General Tab The General Tab of the Settings dialog provides controls for adjusting Adobe Auditions mouse behavior as well as parameters for auto play live update auto scroll and more Settings General System Colors Display Data Multitrack SMPTE xi J Show Tip of the Day at startup I Highlight after Paste I Use shiny look m Mouse Wheel Zoom Factor f33 IV
600. w Pan Envelopes Checkmark this option to show the Pan Envelopes for each block in the session display Pan envelopes appear as a vertical blue line through the center of the block and represent the sound file s left right stereo placement the top of the block is hard left and the bottom is hard right A wave block with its Pan Envelope set to pan hard left then hard right and then back to center Note To change a pan envelope there must be a checkmark next to Enable Envelope Editing further down the View menu Note Pan Envelopes are nondestructive meaning they don t affect the original audio file in any way Therefore if you return to the Edit View or go to another application and play a sound file that you ve applied an envelope to you won t hear the envelope panning The only time this envelope is applied is within Adobe Audition s Multitrack View Show Volume Envelopes Select this option to show the Volume Envelopes for each block in the Session Display Volume envelopes appear as a green line that initially goes straight across the top of a block The top of the block represents 100 normal application while the bottom of the block represents full attenuation silence A wave block with its Volume Envelope set to do a slow fade out starting about halfway into the block 282 CHAPTER 15 View Menu Multitrack View Note To change a volume envelope there must be a checkmark next to Enable Envelope Editing fu
601. waiian Moon way c sounds m Just For Me wav c sounds music Light Jazz wav c sounds music L Little Italy wav c sounds music L Mozart wav c sounds music Moz way c sounds music Rol B way c sounds musi w Clear Undols Close File m Lower Hard Drive Reserves Free Reserve Primary CAWINDOWS TEMP 5553 20 MB Secondary 0 MB Set New Reserves OK Total Available Space 5 659 424 K ox Cancel Last Operation Help The Free Up Space In Temp Files Dialog Waveform The Waveform list displays the names of the currently open waveforms Select the name of the file for which yowd like to remove Undo instances Press the Close File button to close the highlighted file if you no longer need it opened in Adobe Audition This frees up hard drive space as well The waveform in the currently active editing window can t be closed this way however Undo History This part of the window lists the undone actions that are currently being retained on your system The amount of hard drive space each instance consumes is shown To remove items from the Undo History list highlight an item from the list and press the Clear Undo s button All Undo actions at the selected level and below are removed Lower Hard Drive Reserves Adobe Audition creates temporary files for use when performing audio edits The Primary and Secondary drives listed are those that have been set in the System tab of the Op
602. ws you to select from several different quality settings including Constant Bit Rate CBR Variable Bit Rate VBR and Lossless Just as with stereo WMA files the higher quality setting you select the larger the file size and vice versa The Lossless option will compress to a smaller file size than way but will result in no fidelity loss whatsoever To encode your project as WMA select the WMA option and then the desired quality setting in the Format Options drop down menu The checkbox option Show codec formats that most closely match the session s sample rate will limit the list of selectable WMA kbps option to those that are only the same sample and bit rate as the multitrack session s files If you uncheck this box the complete list of WMA options will be presented Note As mentioned above if your project is to be sent out to a mastering duplication or other outside service with the intention of being encoded into other specific surround or media formats you should inquire with the recipient as to the format specifics Channel ordering differs between surround formats Also the crossover frequency points vary among different formats as well For example DTS typically employs a crossover of 80 Hz meaning that all frequency content of your channels lower than 80 Hz can be routed to a sub woofer and all frequency content greater than 80 sent to mains This differs from the Dolby Digital system that utilizes a crossover point of 120 Hz So
603. xport button at the bottom right of the window This launches the export dialog 340 CHAPTER 20 Multichannel Encoder Multichannel Export Options Type the multichannel session name and specify the folder you want to save to Then choose your export option and format Multichannel session name used to create the filenames for exported files BossaN ovaBed Save in JE Bossa Nova Session fa Export as six individual mono wave files Export as one interleaved 6 channel wave file Export and encode as Windows Media Audio Pro 6 channel file e c r c Format options Windows PCM Waveform Audio 32 bit normalized float type 3 Filenames to be saved BossaNovaBed_FL way BossaNovaBed_FR way BossaNovaBed_C way BossaNovaBed_LFE way BossaNovaBed_Ls way BossaNovaBed_Rs way Cancel Help Multichannel Export Options dialog box Multichannel Session Name field The Multichannel Session Name field will automatically be completed with the name of your Adobe Audition Multitrack session if you had already saved the session and named it You can type a new name in this field if you like Since it is possible to Export to one of three different options 6 Mono Wav files one interleaved 6 channel Wav file or encoded as one interleaved WMA 6 channel file there are also different naming conventions for each The following section explains the file naming conventions used for each scenario
604. xt to the sound source where you will hear the sound only due to its loudness Mix Left Right Into Single Source When working with stereo audio there are actually two source signals left and right that can be placed independently In most instances the stereo effect will be dramatically enhanced and sound fuller and often richer when this box is unchecked This does however require twice as many calculations as a single audio source If faster processing is desired check this option which will sum the left and right channels of a stereo waveform before routing it to the effects processor 127 128 CHAPTER 8 Effects Menu Edit View Damping Frequency The Damping Frequency value lets you specify an upper frequency limit of sound that will be reflected For instance if you set a damping frequency of 7000Hz then frequencies above 7000Hz will be cut for each unit of time Use lower values to get a warmer feel Presets Several Echo Chamber presets come with Adobe Audition More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Echo Chamber setting before you apply it to the waveform The selection is looped until you press the Stop button Since Adobe Audition s Previews are dynamic this gives you the opportunity to make and hear processing adjustments as the selection is continuously played Make sure there is enough silence at the end of
605. y effect dialogs The default value is 1000 milliseconds Different sound card drives can require different memory buffer settings If you hear choppiness skips or dropouts when you use the Preview feature you can try to remedy it by adjusting the buffer size used Choppiness can be caused by insufficient processing power as well Keep in mind that a larger Minimum Preview Buffer Size will require more of your computer s memory Temporary Folders Adobe Audition creates temporary files for use when performing edits on your audio Use these two fields to specify the paths to folders in which these files will reside You will need to have enough space available in these folders to accommodate the total size of al the audio files you wish to edit simultaneously Use the reserve free fields to specify an amount to leave available for headroom purposes for both the primary and secondary temporary folders e Temp Folder This is where you specify Adobe Audition s main temporary folder Ideally it should be on your fastest hard drive Press the gt button to browse your system for the folder or type its path in the field provided e Secondary Temp This is where you specify Adobe Audition s secondary temporary folder For best results this should be on a different physical hard drive than the primary temp folder Press the gt button to browse your system for the folder or type its path in the field provided Note Provi
606. y may be much lower in volume At the other extreme the Blackmann Harris window has a broader frequency band which isn t as precise but the sidelobes are very low making it easier to pick out the major frequency components Reference The value entered into this field means that a full scale FS sine wave will show up as that amplitude For instance with the default value of zero a full scale sine wave will display with its peak at OdB A value of 30dBFS would mean that a full scale sine wave displays with its peak at 30dB In other words this value essentially just scoots the display up or down Copy to Clipboard Press this button to send a text based frequency report of the current waveform to the Windows Clipboard ready to paste into your favorite Windows based text editor or word processor Zooming Frequency Ruler To zoom in on the Frequency Analysis window s x axis horizontal ruler the one that measures frequency place your mouse pointer over the ruler Then right click and drag to select the area you wish to zoom in on You ll notice that your pointer turns into a magnifying glass Release the right click button and the zoom in occurs ADOBE AUDITION 197 User Guide To navigate a zoomed in frequency display put your mouse pointer over the horizontal ruler the pointer then changes into a hand Left click and drag the hand horizontally to scroll the current zoom range forward and backwards To zoom out place
607. y you won t notice any ill effects from harmonic distortion of the signal when using levels from Very Good on up Aliasing will still occur however when pitch shifting up but the higher quality levels will reduce the distortion effects tremendously when shifting the pitch down Range This sets the vertical scale of the graph the y axis The range can be set as semitones there are 12 semitones to an octave or as beats per minute Each format will give a different rate of pitch change for a perfect diagonal line on the graph In semitones format the pitch changes logarithmically up and down while in beats per minute format the pitch changes up and down linearly The number of semitones to shift up or down can be entered If doing beats per minute a range as well as the base tempo needs to be entered You may specify the exact tempo of your piece to change to different rates but this isn t required Length Report At the bottom of the Pitch Bender dialog is a report of what the new length of the file will be Keep in mind that when going down in pitch it s easy to make very long files depending on how large a Range is selected Presets Adobe Audition comes with several Pitch Bender presets More information on presets can be found in the Looking at the Work Area chapter Preview Press the Preview button to audition the current Pitch Bender setting before you apply it to the waveform The selection is looped until you press the Stop button
608. you add binaural cues the volume of the right channel for a voice panned all the way to the left is still significant If no cues are added no output will be sent to the right channel This is why greater separation can be heard when listening through speakers if binaural cues aren t used Narrow Field Wide Field Slider Use this control to specify the stereo field of the Chorus Effect Stereo Field denotes where in space instruments or other sources are placed within the L R image of a stereo waveform A waveform that contains sound sources that are spread widely from left to right is said to have a wide stereo field while those having images that are centered around the middle are said to have a narrow stereo field In the case of Adobe Audition s stereo field Settings the narrower the stereo field the greater the chance that the chorused voices will be placed in the center of the L R stereo image At a setting of 50 all the voices are spaced evenly about a half circle from left to right For example if a thickness of 5 is used each voice will be panned such that voice 1 will be to your left voice 2 will be left of center voice 3 will appear in the center voice 4 will be right of center and voice 5 will be on your right At settings higher than 50 the voices start migrating to the outer edges voices to the left go farther to the left and those to the right go farther right e Ifyou use an odd number of voices then there will alw

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