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Adobe 1.5 Music Mixer User Manual

1. Composition Save in c Music Sessions Export as six individual mono wave files C port as one interleaved 6 channel wave file Export and encode as Windows Media Audio Pro 6 channel file Format options Windows PCM Waveform Audio 32 bit normalized float type 3 Ed The Multichannel Export Options dialog box Exporting a multichannel session Once you ve completed mixing your multichannel project you can export it to your desired file format To export your multichannel session 1 Click Export at the bottom right of the Multichannel Encoder dialog box 2 In the Multichannel Session Name text box enter a name for your exported files You can see the names for all the files that will be saved at the bottom of the dialog box in the Filenames To Be Saved area 3 In the Save In text box enter or navigate to the directory to which you want to save the files ADOBE AUDITION 1 5 225 User Guide 4 Select one of the following Export As Six Individual Mono Wave Files Creates standard Windows PCM wav mono files that typically can be used by any Windows audio application For more information see Windows PCM wav on page 239 Export As One Interleaved 6 Channel Wave File Exports as Windows PCM wav format which allows a single file to contain multiple channels of audio However not all Windows audio applications can open or play WAV files that are not mono or stereo For more informa
2. Insert Inserts audio at the current location or selection replacing any selected data If no data is selected Adobe Audition inserts audio at the cursor location moving any existing data to the end of the inserted material Overlap Mixes audio at the selected volume level with the current waveform If the audio is longer than the current waveform the current waveform is lengthened to accommodate the pasted audio Replace Overdubs the audio beginning at the cursor location and replaces the existing material thereafter for the duration of audio For example pasting 5 seconds of material replaces the first 5 seconds after the cursor ADOBE AUDITION 1 5 95 User Guide Modulate Modulates the audio with the current waveform for an interesting effect The result is similar to overlapping except that the values of the two waveforms are multiplied by each other sample by sample instead of added You can create fantastic combo effects by selecting part of a wave and using the Mix Paste command with Modulate selected The selection is modulated with the audio signal on the clipboard Crossfade Applies a fade to the beginning and end of the pasted audio Enter a value to specify how many milliseconds of the audio are faded 5 Use this option for smoother transitions to and from pasted audio From Clipboard number Pastes audio data from the active internal clipboard From Windows Clipboard Pastes audio data from the Windows clipboar
3. Note On sound cards that support sample accurate devices that is synchronized device starting and all devices keyed off of the same clock you don t need to select this option 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 which is common in consumer and other low end sound cards Correct For Start Sync In Recordings Compares the exact true time that the record device started 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 recording on top of existing waveforms or punch ins If this option is 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 consistently appears 27 samples ahead of the playback the latency would be 27 x 1000 44 100 or about 0 61 milliseconds The reason for the milliseconds form
4. e 32 bit Normalized Float type 3 Default is the internal format for Adobe Audition and the standard floating point format for type 3 wav files Values are normalized to the range of 1 0 and although values beyond this range are saved clipping may occur in some programs that read them back in Adobe Audition won t clip audio but will instead read the same value back if it s beyond this range 240 CHAPTER 11 Saving Exporting and Closing Files e 24 bit Packed Int type 1 24 bit saves straight 24 bit integers so any data beyond the bounds is clipped The wav BitsPerSample is set to 24 and BlockAlign is set to 3 bytes per channel 24 bit Packed Int type 1 20 bit saves straight 24 bit integers so any data beyond the bounds is clipped The wav BitsPerSample is set to 20 and BlockAlign is set to 3 bytes per channel The extra 4 bits are actually the remaining valid bits when saving and they are used when reading thus still giving 24 bit accuracy if those bits were actually present when writing Applications either fill those last 4 bits with zeros or with actual data 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 value between 17 and 24 will read in all 24 bits and assume the remaining bits are either accurate or set to zero 32 bit 24 0 Fl
5. ADOBE AUDITION 1 5 Audio Clip Properties ne Terr TT 100 200 Audio Clip Properties window A Pan slider B Pan text box C Volume text box D Volume slider E Pathname for source file To change the properties of an audio clip 1 2 Right click the clip and choose Audio Clip Properties Do any of the following To change volume pan or color drag the volume pan or color slider to the desired position To lock the clip in time select Lock In Time A lock icon appears on the clip To lock the clip for play only select Lock For Play Only If the containing track is record enabled the clip remains the same color other clips in the track turn red To mute the clip select Mute To move the clip to a new timeline position enter a start time in the Time Offset text box To change the clip name type in the Filename text box When you save the session Adobe Audition prompts you to save a copy of the source file with the new clip name User Guide 175 176 CHAPTER 7 Mixing Multitrack Sessions Crossfading audio clips You can crossfade audio clips to transition smoothly from the end of one clip to the beginning of another Crossfades consist of a fade out and a fade in over a transition region To create a smooth transition select a transition region that starts before the end of the first clip and extends beyond the beginning of the second clip The fade curves created with Crossfade commands are
6. Pitch Correction options in Manual Mode in Help Using the Stretch effect The Stretch effect lets you change the pitch of an audio signal the tempo or both For example you can use the effect to transpose a song to a higher key without changing the tempo or you can use it to slow down a passage without changing the pitch You can also vary pitch and tempo over the length of the audio giving the effect of raising and lowering pitch or slowing down and speeding up the tempo To use the Stretch effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Time Pitch and double click Stretch 3 Set the desired options For more information search for Stretch options in Help ADOBE AUDITION 1 5 147 User Guide Adding delays and echoes Delay refers to separating copies of an original signal by some number of milliseconds Echoes are sounds that are delayed far enough in time so that you hear each as a distinct copy of the original sound Both delays and echoes are a great way to add ambiance to a track where reverb or chorusing might muddy the mix Using the Delay effect Delay can be used to create single echoes as well as a number of other effects Delays of 35 milliseconds or more create discrete echoes while those between 15 34 milliseconds can create a simple chorus or flanging effect These results won t be as effective as the actual Chorus or fla
7. When working in Spectral View you can use the Marquee Selection tool to select audio data within specific frequencies This method allows for band limited editing and processing as well as greater flexibility in audio restoration work For example if you detect an audio anomaly or error you can select and edit just the affected frequencies resulting in superior results and faster processing Multitrack View CD Project View fF Hz 15000 10000 Lee x Making a marquee selection in Spectral View ADOBE AUDITION 1 5 89 User Guide To make a marquee selection 1 In Spectral View click the Marquee Selection button 7 in the toolbar If this button isn t visible choose View gt Toolbars gt Spectral Selection 2 Drag in the waveform display to select the desired audio data When making a marquee selection in a stereo waveform the selection is applied to both channels To select audio data in just one channel choose Edit gt Edit Channel and then choose Edit Left Channel or Edit Right Channel To move a marquee selection Position the cursor in the selection and drag it to the desired location To resize a marquee selection Position the cursor on the corner or edge of the selection and drag it to the desired size Adjusting selections to zero crossing points For many editing tasks such as deleting or inserting audio in the middle of a waveform the best places to make selections are the points where
8. iv CONTENTS Chapter 3 Chapter 4 Chapter 5 Importing Recording and Playing Audio Opening audio files and multitrack sessions 0 000 61 Inserting audio files into multitrack sessions 2 eee eee 63 ImportingaudiO from ECD es escsetsciaw Rare ANANN N 64 Setting the current time indicator 6 eee eee eee eee ee 68 MOnItOrINGAIME vce scwe sd casodiand P EE EEV EEEREN 69 Using the transport controls kee eee cece eee eee eens 71 RecordingaudiO scssc vosieesadese cas ianen t E ewes senna 72 PlayingGa udiOs x sohenivoese she veniegi E a a 75 Stopping pausing and adjusting the playback cursor 78 Monitoring recording and playback levels 0 0 eee 79 Editing Audio About editing audio sieri Seresta enee 83 Creating new audio files sispcei cee cece cece sek Er raan 84 Viewing waveforms s c0e ccdidatieiws tie eedauts esse U4 aN 85 Selecting audiodata 2 4 i4s Mate aee a a les heads 87 Copying cutting pasting and deleting eee eee eee 92 Working WIN CUCGS ccicsesecanatcaeneees es ani a aar aiena 96 Creating playlists icsciecece piacdetssadvecdowasessegaseasas 102 Creating and deleting silence 6 cece e cece cece eee eee 103 Inverting and reversing audio wok eee eee eee ee eee eens 106 GENEeratiNGiaudiO secacccuawedesmoscsaenegiaasiamegeeedencs 106 Converting the sample type see eee eee cece eee eee ee 110 Adding file properties oo ec ee
9. 3 Set the desired options For more information search for Chorus options in Help 144 CHAPTER 6 Applying Stereo Pitch and Delay Effects Using the Flanger effect 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 has a phase shifted time delay effect characteristic of psychedelic recordings of the 1960s and 1970s The Flanger dialog box lets you create a similar result by slightly delaying and phasing a signal at predetermined or random intervals To use the Flanger effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Flanger 3 Set the desired options Q For more information search for Flanger options in Help Using the Sweeping Phaser effect Similar to flanging phasing introduces a variable phase shift to a split signal and recombines it creating psychedelic effects first popularized by guitarists of the 1960s The Sweeping Phaser effect sweeps a notch or boost type filter back and forth about a center frequency A phase is similar to a flange except that instead of using a simple delay frequencies are phase shifted over time If a phase is used on stereo files the stereo image can be dramat ically altered to create some remarkably interesting sounds To use the Sweeping
10. 5 Normalization To ensure that the loudest sounds reach the highest possible level that digital systems allow 0 dBFS See Using the Normalize effect Edit View only on page 137 You can reverse the order of the equalization and compression stages but be aware that the volume of some tonal ranges may be over or under emphasized Before mastering audio consider the requirements of the destination medium If the destination is the Web for example the file will likely be played over speakers that poorly reproduce bass sounds To compensate you can boost bass frequencies during the equal ization stage of the mastering process Analyzing frequency phase and dynamic range In Edit View you can analyze the frequency phase and dynamic range of an audio file These analysis options are particularly helpful when used in conjunction with the many enhancement and restoration effects in Adobe Audition For example you can use the Frequency Analysis window to identify problematic frequency bands which you can then correct with a filter effect Similarly you can use the Waveform Statistics dialog box to determine dynamic range and then compress that range with an amplitude effect e To analyze a multitrack clip double click it to access Edit View ADOBE AUDITION 1 5 119 Analyzing frequency range In Edit View you can use the Frequency Analysis window to analyze frequency range either statically for a selected area or dynamic
11. Note Because only one ReWire host can be active at a time you need to disable ReWire in Adobe Audition before enabling any other ReWire host application To disable ReWire support 1 In Multitrack view choose Options gt Device Properties and select the ReWire Devices tab 2 Click Disable and then click OK Setting Adobe Audition preferences The Settings dialog box lets you customize Adobe Audition s workspace use of memory and hard disk space spectral view behavior when pasting and other miscellaneous settings To use the Settings dialog box 1 Choose Options gt Settings 2 Click a tab at the top of the dialog box to view the desired sets of options 3 When you re finished setting options click OK To close the Settings dialog box without changing any options click Cancel Once you click OK most changes take effect immediately If a change requires that you close and reopen Adobe Audition you ll be prompted to do so For example you need to close and reopen Adobe Audition when you set up a different temporary folder 44 CHAPTER 2 Setting up Adobe Audition General options The General tab in the Settings dialog box provides options for adjusting mouse behavior in Adobe Audition as well as parameters for auto play live update auto scroll and more Force Spacebar To Always Trigger Play Forces the spacebar to always trigger playback regardless of which dockable window has focus Auto Play On Command Line L
12. See Snapping on page 91 e Snap To Clips to snap loops to the start or end of audio clips See Snapping clips to loop endpoints and other clips on page 170 e Snap To Loop Endpoints to snap loops to the start or end of other loops See Snapping clips to loop endpoints and other clips on page 170 Also consider snapping non loop enabled audio clips to the beat and each other so that all clips are aligned You can snap the current time indicator too 206 CHAPTER 8 Using Loops To extend or shorten a loop enabled clip 1 Select the clip and then position the pointer over the bottom left or right handle the loop editing icon e appears 2 Drag the handle to extend the loop the desired number of bars Depending on how far you drag you can make the loop repeat fully or partially For example you might drag a loop that is one bar long so that it extends 3 1 2 bars ending on a beat within the loop As you cross each bar a white vertical line appears in the clip This is the snap to line indicating perfect alignment to beats in other tracks Extending a loop A Moving the cursor to activate the loop B Dragging the loop with snap to lines indicating how the loop snaps to the beats in other tracks 207 Chapter 9 Working with Video with professional sound To create uniquely sophisticated soundtracks you can combine Adobe Audition with Adobe Premiere Pro and Adobe After Effects to take full
13. 2 Select Embed Project Link Data For Edit Original Functionality and then click OK 3 When you export mixdown files select Save Extra Non Audio Information in the Export Audio dialog box 208 CHAPTER 9 Working with Video To remix or edit a mixdown in an Adobe Premiere Pro or After Effects project 1 In the Adobe Premiere Pro or After Effects project select the mixdown file 2 Choose Edit gt Edit Original 3 Select one of the following and then click OK e Launch The Audition Multitrack Session Which Created This File e Insert This File Into Audition s Edit View 4 Remix the linked session in Multitrack View or edit the mixdown file in Edit View 5 Overwrite the original file by doing one of the following e In Multitrack View choose File gt Export gt Audio and specify the same name and location as the original file e In Edit View choose File gt Save Importing audio and video from video files In both Edit View and Multitrack View you can import audio data from a video file in AVI MPEG or WMV format This approach is useful for soundtrack editing that doesn t require a video preview or for readapting soundtracks for audio only mediums such as radio or CD Only in Multitrack View however can you import both audio and video data from a video file This approach lets you precisely synchronize audio with a video preview Note however that a multitrack session can contain only one video clip at
14. A Open waveforms B Undo items for the selected waveform C Location of primary and secondary temporary folders Help Use the Status Bar to monitor the amount of free disk space See Using the status bar on page 21 Adobe Audition doesn t create a temporary file for a waveform until you edit the waveform However you can force Adobe Audition to create a temporary file by using the Flush Virtual File command This is useful when you need to use a waveform simultaneously in Adobe Audition and another application ADOBE AUDITION 1 5 59 User Guide To manage temporary folder reserve space 1 Choose File gt Manage Temporary Folder Reserve Space 2 Do any of the following e To close a temporary file youre no longer using select the file in the Waveform list and click Close File The currently active waveform can t be closed this way however e To clear Undo items for a file select the file in the Waveform list The Undo History list displays the actions that are currently being retained on your system and the amount of hard drive space each instance consumes Select an item and click Clear Undo s All items at the selected level and below are removed e To change the amount of space you want to keep free on the drives where the temporary files reside enter a value in the Reserve text box and click Set New Reserves e To stop any action in progress such as the application of an effect or any other edit click
15. Cancel Last Operation This option is useful only if the dialog box automatically appeared because you ran out of storage space If Adobe Audition crashes there may be a temp file CEPx tmp in your temporary folder that you should manually delete To force Adobe Audition to create a temporary file for the current waveform In Edit View choose File gt Flush Virtual File Chapter 3 Importing Recording and Playing Audio or by recording it from an external source such as a microphone or a computer s CD player When you play back the audio Adobe Audition provides an assortment of features for monitoring the sound Y ou can bring audio into Adobe Audition by importing it from an audio or video file Opening audio files and multitrack sessions Both Edit View and Multitrack View provide a variety of methods for opening files In Edit View you can open audio files in Multitrack View you can open session files Opening audio files in Edit View In Edit View you can open audio from a variety of audio file formats including MP3 WAY and AIFF For more information on supported file formats see Choosing an audio file format on page 231 If desired you can change the sample type of the audio when you import it or append the audio to the end of the current waveform Whichever method you choose for opening files Adobe Audition provides options that let you preview the contents of files before you open them To open an
16. For more information search for Convolution options in Help Using the Distortion effect Use this effect to simulate blown car speakers muffled microphones or overdriven ampli fiers Have fun making your audio sound really bad or adding fuzz to guitar licks to get that authentic heavy metal sound To use the Distortion effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Special and double click Distortion 3 Set the desired options For more information search for Distortion options in Help Using the Music effect Edit View only The Music effect lets you use any short 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 156 CHAPTER 6 Applying Stereo Pitch and Delay Effects Song Title v New Song jee Type Maj 0 4 7 ov lo dd dd SPP S at tbs h erea 7 X an are The Music dialog box 4 eS MEVEN T eee Caras I Constant Duration Listen B 240 c Sge x Exact Tune To use the Music effect 1 In Edit View select the part of the waveform you want to use as a quarter note Note This selection must be under ten seconds long If you don t select a range Adobe Audition uses the data on the clipboard instead Keep in mind that the c
17. The sound card reconstructs the original waveform and sends it as an analog signal through the Line Out port to your speakers ADOBE AUDITION 1 5 An audio file on your hard drive such as a WAV file consists of a small header indicating sample rate and bit depth and then a long series of numbers one for each sample These files can be very large For example at 44 100 samples per second and 16 bits per sample a file includes 705 600 bits per second This equals 86 kilobytes per second and more than 5 megabytes per minute Stereo sound has two channels so CD quality sound requires a little more than 10 megabytes per minute Introducing MIDI In contrast to a digital audio file a MIDI file might be as small as 10 kilobytes per minute so you can store up to one hundred minutes of MIDI per megabyte MIDI and digital audio are fundamentally different digital audio is a digital representation of a sound wave MIDI is a language of instructions for musical instruments A digital audio file seeks to exactly represent an audio event just like a tape recorder whether it s a musical perfor mance a person talking or any other sound MIDI on the other hand is more like sheet music It acts as instructions for the re creation of a musical selection These MIDI instructions however cannot reproduce highly complex sounds such as the human voice MIDI files record information such as the note to be played the instrument to play the note on t
18. You can also rescale all volume envelopes in a session Using the Mixers window The Mixers window consists of the Track Mixer and Bus Mixer tabs as well as a slider that controls the master volume of your session The Track Mixer tab mimics a real world mixing console It gives you an alternative view of a session providing a broader overview than the track display especially if yowre working with more than a handful of tracks at once The Bus Mixer tab lets you create configure and control up to 26 buses With buses you can group related tracks and collectively adjust volume or apply real time effects Even if you don t use the Mixers window consider docking and resizing it so that only the master volume slider is visible You can use this slider to quickly optimize the overall volume of a mix ADOBE AUDITION 1 5 191 User Guide Using the Track Mixer The Track Mixer provides another method for viewing the tracks in a session Though it lacks the waveforms clips and envelopes visible in the track display the Track Mixer lets you view and edit more tracks simultaneously To automate volume and pan changes over time use clip envelopes See Automating mixes with clip envelopes on page 188 Drums L Drums R Vo x Is deals BUSA BISA mjia BUSE BISE W W D ry 100 D a PT aok PRP PRT PRT 7 S 100 Pano L 40 R E 40 The Track Mixer A Track controls B Control display but
19. e SMPTE 29 97 fps displays time in the SMPTE non drop frame format where each second equals 29 97 frames e SMPTE 25 fps EBU displays time using the standard European frame rate where each second equals 25 frames ADOBE AUDITION 1 5 71 User Guide e SMPTE 24 fps Film displays time in a format where each second equals 24 frames suitable for film e Samples displays time numerically using as a reference the actual number of samples that have passed since the beginning of the edited file e Bars and Beats displays time in a musical measures format of bars beats ticks To adjust the settings choose Edit Tempo For more information see Calculating the tempo of selected ranges on page 199 e Custom X frames sec displays time in a custom format To modify a custom format choose Edit Custom Time Format enter a number of frames per second for Custom Time Code Display and click OK Using the transport controls Just like many hardware based audio recording and playback devices Adobe Audition provides transport controls for playing recording stopping pausing fast forwarding and rewinding waveforms and sessions Right click the transport control buttons to set options for playing recording fast forwarding and rewinding audio Transport Controls EJ aa Pal allal aSa Transport controls To show or hide the transport controls Do one of the following e Choose Window gt Transport Controls A check mark
20. menus toolbars and a status bar See About the work area on page 9 eS AS ABAS r cD Project View Files Effects Favorites Pease Track Title Source Intro Intro Main Main v Inter 1 Inter Int Int Mair Intro Inte CD Project View You use the tabs above the display window commands in the View menu or buttons in the toolbar to switch between views See Switching between views on page 11 Assembling tracks You can assemble the tracks for a CD all at once or you can insert individual tracks as you finish editing the audio After you insert tracks you can also change their order or remove them When you assemble audio for a CD you ll probably want to fine tune the individual tracks so that they form a cohesive whole This process known as mastering often involves cropping files adjusting dynamics compressing and comparing the audio for continuity levels and EQ See About the mastering process on page 117 and Normalizing groups of files on page 244 258 CHAPTER 13 Burning Audio CDs Inserting tracks Adobe Audition provides a variety of ways to insert tracks into CD Project View Keep in mind that you re not limited to inserting entire files you can also insert audio ranges that are defined as track cues For more information on creating track cues see Defining and selecting cues on page 96 and Choosing a cue type on page 97 To insert a track D
21. thus avoiding abrupt changes in amplitude that cause pops and clicks Index A absorptive surfaces simulating with Echo effect 148 ACM defined 275 Waveform format 233 adapter defined 275 ADAT defined 275 Add Remove VST Directory command 33 Adjust Boundaries command 170 Adjust Sample Rate command 111 Adobe Acrobat Reader 1 Adobe After Effects remixing soundtracks from 207 Adobe Audition and basic audio workflow 272 Adobe Premiere Pro remixing soundtracks from 207 ADPCM compression 235 236 defined 275 Advanced Session Properties dialog box 167 AIFF format 233 A Law Wave format 232 aliasing defined 275 Amiga IFF 8SVX format 233 amp overdrive 155 Amplify Fade effect 134 amplitude defined 275 optimizing 134 analog audio fundamentals of 270 analog recording defined 275 Analyze Loudness tab Group Waveform Normalize dialog box 245 Append To Session command 63 Apple AIFF format 233 ASCII text data about 234 defined 275 ASPI Advanced SCSI Programming Interface 46 attack defined 276 attenuate defined 276 AU format 238 audio analyzing 118 copying 92 mastering 117 muting 103 restoring 117 shrinking or stretching 146 177 Audio Clip Properties window 174 audio digital extraction 64 audio file format defined 276 audio files See also specific format names exporting mixdowns to 229 inserting in sessions 63 saving 227 audio tracks about 179 Audition Loop format 234 Aut
22. with the settings you specified for the favorite Script tab Lets you specify the following options e Script Collection File displays the current script collection in use The button to the right of the text box opens the Browse For Script dialog box that lets you navigate to and select a script collection scp file e Script lets you choose the script you want to run from the selected collection e Pause At Dialogs stops the script at each dialog box used in the script so you can modify the settings at those points Otherwise the script runs nonstop to completion Tool tab Specifies the command line for the tool you want to run including any command line switches the particular tool may need The button to the right of the text box opens the Browse For Tool dialog box that lets you navigate to the desired tool Help tab Displays instructions for adding separators and submenus to the Favorites menu 257 Chapter 13 Burning Audio CDs dobe Audition provides an integrated CD burning utility that makes it easy to A create audio CDs from audio and session files Using CD Project View CD Project View provides an easy to use interface for assembling CD tracks setting track properties and burning CDs The display window in CD Project View contains the track list which displays information about the audio tracks you assemble CD Project View also shares many elements with Edit View and Multitrack View such as dockable windows
23. within a waveform for instance 1 08 566 from the start of the wave 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 Cues have triangular handles that appear at the top and bottom of the waveform display You use cue handles to select and adjust cues You can also right click a cue handle to view commands for working with cues Edit View Multitrack View A Cue 01 Examples of cues A Cue handle B Cue point C Cue range D Nonsplit cue range Note To preserve cues when you save a file make sure that you select Save Extra Non Audio Information Defining and selecting cues You use the Cue List window to define and select cues You can also define cues by using context commands and keyboard shortcuts To display the Cue List Choose Window gt Cue List Alternatively click the Hide Show Cue List button in the toolbar ADOBE AUDITION 1 5 97 User Guide To define a cue 1 Do one of the following Place the cursor exactly where you want the cue point to be in the waveform display Select the audio data you want to define as a cue range in the waveform display 2 Click Add in the Cue List window Alternatively click the Add To Cue List button amp in the toolbar To select cues Do one of the following e Click a cue in the cue list e Double click a cue handle in
24. 1 when you resize the window This option avoids complex resampling producing a sharper image and increasing performance e Low Quality to lower the preview quality Note Video quality settings take effect when you next import a video clip To apply a new quality setting to the current clip close it and reimport it into the session Preparing video mixdowns for export In Multitrack View you can export video mixdowns in AVI format Video mixdowns combine video clips with audio clips that exist in the same area of the timeline creating a new soundtrack Prior to exporting a video mixdown you can preview it to ensure that it will sound as you expect and if not edit the session as desired Selecting the start and end points of a video mixdown 212 CHAPTER 9 Working with Video To preview a video mixdown 1 Choose Edit gt Snapping gt Snap To Frames 2 In the session display select an area that extends from the beginning to the end of the video clip 3 Play the session and then do one of the following e If the soundtrack doesn t sound as you expect edit the session as desired and then repeat steps 2 through 3 For example if part of an audio clip is omitted move the entire clip into the selected area e Ifthe soundtrack sounds as you expect export a video mixdown See Exporting mixes to video on page 230 You can also use this procedure to export an audio mixdown that you combine with Oa video in a
25. 7 give the best results without adding too much noise Note however that as this value is lowered other unwanted harmonic distortion noise appears Lower values are usually okay if you also apply Noise Shaping p d f probability distribution function Controls how the dithered noise is distributed away from the original audio sample value Usually Triangular p d f is a wise choice because it gives the best tradeoff among SNR Signal to Noise ratio distortion and noise modulation Triangular p d f chooses random numbers that are generally closer to 0 than to the edges 1 or 1 that is the chance of 0 being chosen is twice as great as the chance of 0 5 or 0 5 p d f SNR loss Modulation Rectangular 3 dB Yes Triangular 4 8 dB No Gaussian 6 dB Negligible Shaped Triangular 4 8 dB No Shaped Gaussian 6 dB Negligible Noise Shaping Determines the placement when you move noise to different frequencies The same amount of overall noise is present but you can place less noise at one frequency at the expense of placing more noise at another You may also specify that no noise shaping is used ADOBE AUDITION 1 5 115 User Guide 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 depth By introducing noise shaping you may be able to get away with a lower dither depths to reduce the overall background noise level
26. ADOBE AUDITION 1 5 For very quiet low noise floor audio enter a lower amplitude value such as 60 dB For noisier audio you might enter a higher value such as 30 dB Enter a longer duration to keep groups of words together for example Audio Is Defined As Determines what Adobe Audition considers audio In the Signal Is Above text box enter the amplitude value in decibels you want Adobe Audition to consider as the minimum level for audio In the For More Than text box enter the duration in milliseconds of this minimum amplitude value Enter a higher duration to ignore short periods of undesired audio like clicks static or other noise However if the value is too high above 200 milliseconds short words might be skipped Find Levels Scans the waveform or selected range to have Adobe Audition automatically determine a good starting point for signal levels Suggested values appear in the appro priate text boxes If these values don t do the job for example words or phrases are chopped off lower the signal level values Increase the signal level values if not enough silence is removed Mark Deletions In Cue List Adds each location where silence is removed to the cue list Limit Continuous Silence To Specifies the minimum amount of silence in milliseconds to keep at all times Silent ranges shorter than this length aremt removed silent ranges greater than this length are shortened so that exactly
27. Audition 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 Defines the number of frames per second FPS assigned to the Custom time format in the View gt Display Time Format menu Restore Default Workspace Resets all window sizes and positions to Adobe Audition s default arrangement ADOBE AUDITION 1 5 45 User Guide Ctrl Key Allows Dockable Windows To Dock Disables the Ctrl key from preventing a window to dock when moving the window around the work area Mouse Wheel Determines 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 you ll zoom in when you roll the mouse wheel Time Selection Mouse Cursor Determines 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 Determines the behavior for a right click in the waveform display e Popup Menu When right clicking in the waveform display a menu pops up if this option is selected You can then Shift click to extend a selection e Extend Selection If you select this option right clicking in the Edit View s waveform display lets you extend the edge of a waveform selection instead of displaying the
28. Multitrack View CD Project View Beat 3 beat Beat 4 beat dB Selecting a waveform that starts and ends on a clear beat helps make for a good loop To define a loop 1 Open the waveform from which you want to define the loop 2 Switch to Edit View 3 Choose Edit gt Auto Cue gt Find Beats And Mark Set up the dialog box to find the beats in the waveform and click OK See Setting cues automatically on page 101 for more information on the Find Beats And Mark command and see Finding beats on page 90 for information on setting up Adobe Audition to find beats The beats in the waveform are now indicated helping you select a start and end that lands on the beat 4 Choose Edit gt Snapping gt Snap To Zero Crossings See Snapping on page 91 This step makes your selection snap to places in the waveform that have zero amplitude preventing audible noise at the beginning and end of the loop 5 Select the part of the waveform you want to define typically starting and ending on a beat ADOBE AUDITION 1 5 199 6 Click the Play Looped button to repeatedly play your selection 7 Adjust the start and end of the selection until just the material you want is selected 8 Choose View gt Display Time Format gt Edit Tempo to specify detailed tempo infor mation for the loop See Calculating the tempo of selected ranges on page 199 9 Choose Edit gt Copy To New This step copies the selected area
29. Order Changes the byte order from Little Endian to Big Endian or vice versa Some CD ROM drives designed to work only with other types of computers like DEC and Macintosh systems report data by using the Little Endian byte order while PCs use the Big Endian method Normally you should leave this box unchecked check it only if the extraction process seems to work fine but the audio results are garbage Swap Channels Places the left channel of a CD s audio in the right channel of the Wave Display and places the right channel of the audio in the Wave Display s left channel Spin Up Before Extraction Causes the CD ROM drive to start spinning before Adobe Audition extracts the data Some CD ROM drives have better accuracy if they first read the CD after the drive is spinning Selecting this option for other drives however doesn t provide any advantage Recording from CDs internally If you have an older CD ROM drive that doesn t support digital extraction or if you have problems ripping a track into Adobe Audition then you can record from a CD in real time through the sound card on your computer This method is called internal recording Keep in mind that not all PC s have an analog cable from a CD drive and not all computers react the same way when recording from CD internally As a result this method is never preferable to extracting from CD digitally Before you record from a CD internally you should always preview the CD
30. Phase The position of a sound wave relative to other sound waves As a sound wave travels through the air it compresses and expands air molecules in peaks and troughs much like an ocean wave In the waveform display peaks appear above the center line troughs appear below If two channels of a stereo waveform are exactly opposite in phase they will cancel each other out More common however are slightly out of phase waves which have misaligned peaks and troughs resulting in duller sound ADOBE AUDITION 1 5 285 User Guide Pink noise Noise with a spectral frequency of 1 f producing the most natural sounding generated noise By equalizing pink noise you can simulate rainfall waterfalls wind a rushing river and other natural sounds On the audio spectrum pink noise falls exactly between brown and white noise Play List An arrangement of Cue List entries that you can play in any order and loop a specified number of times in nondestructive fashion Adobe Audition saves Play Lists in the header of WAV files Plug in A software component that you can add to another piece of software to increase its functionality Adobe Audition supports third party VST and DirectX audio plug ins which seamlessly integrate into Adobe Audition s interface Preset Most dialog boxes in Adobe Audition support presets which are settings saved under a particular name for later recall Dialog boxes that support presets have a Preset list where you can click
31. Reset 1 1 To Cursor Changes the Current Beat At value to 1 1 00 Song Start Represents the number of milliseconds before the measure 1 1 00 begins This value is for information only User Guide 200 CHAPTER 8 Using Loops Beats Per Minute Displays the number of beats that occur in a one minute interval You can calculate this value by clicking Extract Beats Per Bar Assigns the number of beats that make up one measure bar For instance enter 4 for 4 4 time 6 for 6 8 time and the like Beat Length Specifies the value of the beat For instance enter 2 for a half note 4 for a quarter note and 8 for a sixteenth note Ticks Per Beat Specifies the number of sections each beat is divided into or the value after the decimal point You can enter a number between 2 and 3600 For instance if you enter 32 ticks per beat then a time setting of 4 2 16 represents an eighth note a note halfway between beats 2 and 3 in 4 4 time Setting permanent loop properties in Edit View After you define a loop you can set permanent loop properties so it works well with other clips in a session The Loop Info tab of the Wave Properties dialog box lets you specify these properties such as number of beats default tempo and musical key Setting permanent loop properties makes a loop far easier to work with in Multitrack View Loop properties that you set in Edit View are saved with the file and are permanent Loop properties that you set in Multitra
32. Speeds or slows the playback of a clip to fit the new length without maintaining pitch This setting is commonly used in R amp B and hip hop to achieve exaggerated stretching and compressing of drum tracks creating a lo fi sound This setting also works well for vocals allowing subtle to radical changes in timbre Beat Splice Stretches the clip based on beats detected within the file This setting works only on clips that have very sharp transient sounds like drums If the waveform already has beat markers select Use File s Beat Markers to use them Otherwise select Auto Find and adjust the default values as needed Hybrid Uses the current Time Scale Stretch settings when you shorten the clip and uses the current Beat Splice settings when you lengthen it To disable time stretching 1 Right click the time stretched clip and choose Clip Time Stretch Properties 2 Deselect Enable Time Stretching Inserting empty audio clips You can insert empty audio clips as placeholders for audio you plan to record later This technique is particularly helpful when combined with the Punch In command See Recording audio in Multitrack View on page 73 To insert an empty audio clip 1 Select a range in the track display 2 Choose Insert gt Empty Audio Clip and then choose one of the following In Current Track stereo In Current Track mono In All Record Armed Tracks ADOBE AUDITION 1 5 179 User Guide Revealing hidden c
33. The WMA format utilizes a perceptual compression scheme and lets you select from three different encoding options e Constant Bit Rate Encoding varies the quality level as needed to ensure that the bit rate stays the same This method makes a consistently sized file although the quality may not be as high as with Variable Bit Rate encoding e Variable Bit Rate Encoding maintains the audio quality by varying the bit rate depending on the complexity of the audio passage being encoded This method can maintain higher quality audio in the file although the file size is not as predictable as with Constant Bit Rate encoding e Mathematically Lossless Encoding compresses to a smaller file size than WAV but results in no fidelity loss After you select an encoding option you can set the desired quality Just as with stereo WMA files the higher quality setting you select the larger the file size and vice versa Windows PCM wav The Microsoft Windows PCM 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 file The WAV format reproduces digital audio by using PCM Pulse Code Modulation PCM doesn t require compression and is considered a lossless format Options The following options are available for 32 bit files no options are available for 8 or 16 bit files
34. a preset to recall its settings and Add and Del buttons for creating and deleting presets Preview Many dialog boxes in Adobe Audition offer real time Preview buttons letting you monitor setting changes as you make them The preview quality depends upon your system s performance Punch in A recording method used to insert a new recording into a specific region of an existing waveform usually to replace an undesirable section Adobe Audition supports punch in recording in Multitrack View and allows for multiple takes you can repeatedly record over the original material and afterward choose the best performance Q Quantization A process that occurs when an analog waveform is converted to digital data and becomes a series of samples Quantization noise is introduced as some samples are shifted to quantization levels allowed by the current bit resolution This noise is highest at low bit resolutions where it can particularly affect low amplitude sounds 286 Glossary R RCA cable Sometimes called a phono cable RCA cables have RCA plugs or jacks at either end and are normally used to connect stereo system components such as receivers CD players and cassette decks Realtime In computer based audio real time refers to functions that react immediately to user input and transform audio nondestructively Note however that system speed ultimately determines processing time Adobe Audition provides real time mixing and effects in Mu
35. a session because you won t want to pitch shift a drum track to the key of E for example if it has no key to begin with Find Nearest Scans the loop to locate the nearest key This option works best with monophonic files that is solo instruments Because many keys share the same notes in the scale you can think of this setting as root note for transposition Stretch Method Specifies how if at all the loop stretches to match the session s tempo Choose one of the following settings e Fixed Length No Stretching causes the loop to play at its native tempo no matter what the session tempo is set to If a session has multiple loops of different tempos and each is set to Fixed Length no two loops will seamlessly match in tempo This setting is useful if you plan to insert and loop a file in a session where you don t plan on doing any type of time stretching or pitch shifting The most common uses for this setting is inserting a pattern over live music or using one to underscore live vocals e Time Scale Stretch stretches the file just like the Stretch effect to match the tempo of the session Corresponding options are Quality High Medium or Low Frame Size the number of splices per beat and the percentage of Frame Overlapping This method stretches a file based on its actual length so you should use it if you loop something like a synth pad or a sustained string section which don t have actual beats per se This method i
36. a time To import audio data from a video file Do one of the following In Edit View choose File gt Open Audio From Video e In Multitrack View select a track position the current time indicator at the desired insert point and then choose Insert gt Audio From Video To import audio and video data In Multitrack View select a track position the current time indicator at the desired insert point and then choose Insert gt Video ADOBE AUDITION 1 5 Working with video clips When you import a video file into a multitrack session video data becomes a video clip on the selected track and audio data becomes an audio clip on the track below You can select and move video clips like other clips See Selecting and moving clips on page 168 Note however that you can also move a video clip independently from the audio clip containing the original soundtrack to keep related video and audio clips synchronized group them See Grouping clips on page 169 To synchronize audio and video you can snap other clips and the current time indicator to individual frames in a video clip You can also magnify the session display to view more thumbnails in a clip These thumbnails serve only as a general guide for frame accurate synchronization use snapping Note Thumbnails don t appear for MPEG 2 video clips To snap to individual frames in a video clip 1 Choose View gt Display Time Format and select the SMPTE ti
37. above the controls then the echo occurs more than 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 offset and at any feedback amount with any high or low cut filter Experiment to achieve some very interesting effects Each delay unit is represented in the graph 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 eight bands of filtering User Guide 149 150 CHAPTER 6 Applying Stereo Pitch and Delay Effects To use the Multitap Delay effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Multitap Delay 3 Set the desired options For more information search for Multitap Delay options in Help Adding reverb When a sound occurs it bounces off of different surfaces on its way to your ears For example when someone sings in a room that sound is reflected off the walls ceiling and floor as well as any objects in the room This reflected sound is called reverberation or reverb for short All these reflected sounds might reach your ear
38. advantage of Adobe Audition s flexible mixing features A dobe Audition tightly integrates with digital video enhancing any video project About working with video With Adobe Audition you can improve the sound of any video project For example if you need to improve the audio quality of an existing soundtrack you can use Edit View to quickly restore and enhance the audio Or if you want to create elaborate soundtracks with flexible real time mixing tools you can use Multitrack View to preview video add audio and MIDI tracks and export entirely new soundtracks See Importing audio and video from video files on page 208 For maximum flexibility you can combine Adobe Audition with Adobe Premiere Pro and After Effects Tight integration between these products lets you quickly remix a soundtrack as the needs of a video project change over time Working with Adobe Premiere Pro and After Effects If you use Adobe Premiere Pro or After Effects you can easily remix and edit soundtracks in Adobe Audition To do so first configure Adobe Audition to link session files with exported audio mixdowns in WAV format Once these files are linked you can select an imported mixdown file in Adobe Premiere Pro or After Effects and then remix the related session in Multitrack View or edit the mixdown file in Edit View To link session files with exported audio mixdowns in WAV format 1 Choose Options gt Settings and then click the Data tab
39. amount of time in milliseconds Adobe Audition will continue playing if it encounters a dropout in timecode Lag Time Specifies the number of samples between incoming timecode and outgoing audio data This value accounts for discrepancies introduced by sound card buffers The default value is 10 samples Slack Specifies the number of frames Adobe Audition can fall out of sync with timecode before either repositioning the current time indicator to match the code or performing a full resynchronization A setting of up to 2 5 frames is recommended as incorrect timecode is usually corrected on the next frame sent The default value is 1 frame Clock Drift Correction Time Specifies the number of samples to crossfade when making time corrections to chase audio to timecode The default value is 200 samples Reposition Playback Cursor When Shuttling Readjusts the playback position if synchroni zation is off by the Slack value Full Re Sync When Shuttling Performs a full re synchronization if synchronization is off by the Slack value Setting up external controllers You can use external controllers such as the Mackie Control when recording and mixing in Adobe Audition These devices let you edit audio tracks using real knobs and automated faders instead of your mouse and computer keyboard The Device Properties dialog box lets you configure external controllers and specify a volume increment 42 CHAPTER 2 Setting up Adobe Audition To
40. and Playing Audio 5 For Interface Option choose Generic Win32 or ASPI SPTI In most cases ASPI SPTI is the best choice Select Generic Win32 only if the ASPI SPTI option 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 For more information see Extract Audio From CD options in Help 6 For Error Correction CDDA Accurate is automatically selected if the CD ROM drive has built in ripping error correction For these 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 box However if your drive isnt CDDA Accurate you have access to No Correction and Jitter Correction options No Correction as youd expect means that no error correction will be performed Jitter Correction compensates for data reading problems that older drives might have 7 To listen to the selected tracks before extracting them click Preview 8 To save the settings for future use save a preset See Using presets on page 28 9 After you finish setting options click OK Extract Audio From CD options If you select ASPI SPTI in the Extract Audio from CD dialog box set the following options as desired Read Method Lets you choose the way Adobe Audition reads CD audio Several methods are provided many of them developed before the SCSI 3 specificatio
41. and create pitch based effects Use automatic mode for quick results or manual mode for precise control See Using the Pitch Correction effect Edit View only on page 146 Frequency space editing Visually isolate select and modify sounds in frequency and time using the Marquee Selection tool See Selecting audio frequencies in Spectral View on page 88 Automatic elimination of clicks and pops Quickly and easily restore digital recordings of vinyl source material wireless mics DV cameras and other production audio See Using the Auto Click Pop Eliminator effect Edit View only on page 125 Studio reverb Apply high quality reverb that conserves processing resources while offering extensive controls See Using the Studio Reverb effect on page 153 New sample sessions Get up to speed quickly by using any of the 20 sample sessions included with Adobe Audition Modify the samples to create your own music See About mixing multitrack sessions on page 161 New royalty free loops Use more than 500 new music loops for a total of more than 5 000 in a variety of styles including 70 s disco classic rhumba and wedding and event See About loops on page 197 Vocal extraction Quickly and easily extract the vocal portions of a track to create either a cappella or karaoke ready tracks while preserving the stereo image See Using the Center Channel Extractor effect on page 141 Flexibl
42. audible when you convert from a high bit resolution to a lower one for example when converting from 32 bit to 16 bit Without dithering quiet audio passages such as long reverb tails may be abruptly truncated User Guide 280 Glossary Dry Used to describe an audio signal without any signal processing such as reverb the opposite of Wet DSP See Digital Signal Processing DSP on page 279 DVD Digital Video Disc A storage medium similar to a compact disc CD but with much higher bandwidth and storage capabilities Audio stored in DVD movies is generally 96 kHz 24 bit E Echo A distinct repetition of a sound caused by the sound reflecting off a surface Adobe Audition offers two echo effects Echo and Echo Chamber 8 bit Signed See 8 bit signed sam on page 232 Envelopes To automate mixes in Multitrack View Adobe Audition uses envelopes which are drawn directly on clips Envelopes visually indicate the pan volume wet dry and effects parameter settings at any point in a track For example when a volume envelope is at the top of an audio clip the audio is at full volume when the envelope is at the bottom the audio is at zero volume Equalization EQ The process of increasing or decreasing the amplitude of specific audio frequencies relative to the amplitude of other audio frequencies Expander Increases dynamic range by lowering amplitude when an audio signal falls below a specified threshold the o
43. audio data themselves Instead they are small files that point to other audio files on the hard drive A session file keeps track of what files are a part of the session where they go in the multitrack what envelopes and effects are applied to the tracks and so on For more information on creating session files see Creating new sessions on page 162 In Multitrack View you can open individual session files and you can append one session to another to quickly build elaborate compositions with shared themes When you append sessions appended tracks appear below current tracks For example if the current session uses tracks 1 4 Adobe Audition appends tracks 5 and greater and places them at the beginning of the timeline If desired you can then move clips in appended tracks to a new position See Selecting and moving clips on page 168 Note You can append a session only if it uses the same sample rate and bit depth as the current session The sample rate and bit depth of the current session is displayed in the status bar To open a session file 1 In Multitrack View choose File gt Open Session Alternatively click the Open button in the toolbar 2 Locate and select the file you want to open and click Open To append a session file to the end of the current session 1 In Multitrack View choose File gt Append To Session 2 Locate and select the file you want to open and click Open Inserting audio files into mult
44. can create your own loops or access any of the thousands supplied in the Adobe Audition Loop Library Loops typically contain one to two bars of music Most pop and rock music follows a 4 4 time signature meaning that one bar has four beats two bars have eight beats and so on With loops in Adobe Audition you can do the following e Change the pitch and timing of loops independently of each other so you can easily incorporate the same loop into many different Adobe Audition sessions and musical compositions e Quickly and easily add or subtract repetitions of a loop by dragging with the mouse With snapping enabled this method applies even to individual beats within a loop For example you can drag to create 1 5 repetitions and end precisely on a snare hit at a loop s midpoint e Snap other audio clips to loop end points and beats within the loop Working with loops is typically a three step process in which you select part of a waveform specify its properties in Edit View and then use the resulting loop in composi tions in Multitrack View 198 CHAPTER 8 Using Loops Defining loops To come up with a good loop you first need to select and save a waveform that when played over and over repeats precisely on a beat This process is called defining a loop Although defining on a beat isn t absolutely required doing so makes loops more useful because you can combine them in rhythm with other loops Edit View
45. choose File gt Batch Processing The Batch Processing dialog box appears with the Files tab displayed 2 Click Add Files to open the Please Choose The Source Files dialog box and select one or more files e Hold down Ctrl or Shift to select noncontiguous or contiguous files respectively e Click Remove to delete highlighted files from the list e Click Remove All to delete all files from the list User Guide 248 CHAPTER 12 Scripting and Batch Processing e Click Hide Path to display the name of the file without its full path e Click Open Raw PCM As to select the desired Sample Rate Channels Resolution and other properties Use this option only when converting Raw PCM files 3 Click the Run Script tab at the bottom of the Batch Processing dialog box 4 Select Run A Script Then click Browse to locate and select a script collection scp file and click Open 5 Choose a script from the Script menu The only scripts that you can use for batch processing and the only ones that appear in the list are those that were recorded in Script Works On Current Wave mode See Working with scripts on page 249 6 Click the Resample tab 7 Select Conversion Settings to change each waveform s sample properties to a common set of values Then click Change Destination Format to specify the values See Converting the sample type on page 110 If you don t select Conversion Settings the sample properties for the d
46. cues ruler ticks zero crossing points and frames Enabling snapping helps you make accurate selections however if you prefer you can disable snapping for specific items To enable or disable snapping Choose Edit gt Snapping and choose any of the following commands A check mark indicates that a command is enabled e Snap To Cues allows the cursor to snap to a cue point For more information on defining cues see Working with cues on page 96 e Snap To Ruler Coarse allows the cursor to snap only to the major numeric divisions decimal SMPTE samples and so on in the timeline Note You can enable only one Snap To Ruler command at a time Snap To Ruler Fine allows the cursor to snap to each of the subdivisions decimal SMPTE samples and so on within the timeline Zooming in by right clicking as you drag across the timeline breaks the display down into more accurate subdivisions letting you place the cursor more accurately within the timeline e Snap To Zero Crossings allows the cursor to snap to the nearest place where the waveform crosses the center line in other words the zero amplitude point e Snap To Frames Always allows the cursor to snap to a frame boundary as long as the time format is measured in frames such as Compact Disc and SMPTE This command is especially handy for working on audio for CD 0 You can access snapping commands by right clicking the timeline 92 CHAPTER 4 Editing Aud
47. display window to best meet your needs For example you can zoom in to clearly see the samples in a waveform or you can zoom out to get a visual overview of a waveform or session The Zoom Controls window provides a variety of tools for zooming You can also zoom by dragging in the horizontal scroll bar vertical scroll bar Multitrack View only or vertical ruler Zoom Controls E3 el a FEN EAr A Zoom controls To show or hide the zoom controls Do one of the following e Choose Window gt Zoom Controls A check mark indicates that the controls are visible e Click the Hide Show Zoom Controls button amp in the View toolbar See Using toolbars on page 13 If you don t like the default location of the zoom controls you can reposition them or detach them so they float above the main window See Using windows on page 14 18 CHAPTER 1 Looking at the Work Area To zoom in or out by using the zoom controls Do any of the following Click the Zoom In Horizontally button to zoom in on the center of the visible waveform window or session Click the Zoom In Vertically button to increase the vertical scale resolution of a waveform s amplitude display in Edit View or decrease the number of viewed tracks in the session display in Multitrack View Click the Zoom To Selection button amp to zoom in on the actively selected waveform or session range Click the Zoom In To Right Edge Of Selec
48. e To remove a point from the graph drag it off the graph Note When the pointer is located over a control point you ll see it change from an arrow to a hand ADOBE AUDITION 1 5 31 User Guide Previewing effects in Edit View Many dialog boxes provide a Preview button for previewing effects in real time This means that you can monitor the processed signal before applying the effect to the waveform The preview feature updates in real time meaning that changes you make to effect settings while in the dialog box for that effect become audible immediately while the audio is playing Keep in mind that your system s performance affects the preview feature On slower systems some effects may tend to break up or skip during preview In Multitrack View the preview is not necessary as effects are used nondestructively Basically every effect in the Multitrack View is in preview all the time For more information on the differences between destructive and nondestructive editing see About using Edit View and Multitrack View on page 10 In Edit View you can add an optional preroll or postroll amount to the duration of the preview This is especially useful when previewing effects for small ranges and marquee selections because it lets you hear how the in and out transitions are affected by the effects settings To preview effects in real time 1 Click the Preview button to start playing the audio 2 Adjust the effect settings as desir
49. eee ee cece eee e eee e eens Keys for playing AUdIO oo eee cece eet e teen e eens Keys for selecting ranges channels and tracks 6 Keys for copying waveforms 1 eee e cece ence eee ee eeees Keys for editing CliDS 6 cece cee cee cece een eee eee e ee eenes Keys for repeating commands see c cece cence eee eeees Keys for using markers oo cece cee cece araue cence ee seso Keys for scrolling waveforms and sessions 00e00ee Keys for viewing WINdOWS 1 cece cence ence eee ee eeees Digital Audio Primer Sound fundamentals 2 gicied caste siventveveasdeeess EES Waveforms arrere 25s cic E cause tenia i eteatad ieeks AMAOGAUGIO sissies sreisieaena nennir aie nE ERR ERDEI Digital audio swwescsacissesa cease a anann E aieiai aG Sampling rate iiccadecstiacsisatenikensactsaasacaeeitauteas Bitdepth secrm onres ae andi a DAE EAE DETER EE an ENS Where Adobe Audition fits into the process se eee eee ee Introducing MIDI w ccdedsvancstmacretoeeorepacerseeegeretsnes GONCIUSION sacscssersadesaes cians esrachecnrennntganinegeaess ox vii Learning about Adobe Audition elcome to Adobe Audition 1 5 the ultimate software tool for audio editing mixing and mastering Adobe provides a variety of options you can use to learn Adobe Audition including online Help and tool tips You can also use the Adobe Web site to easily access a wide range of continually updated Web resources from
50. effects or adjusting volume For example you can output four tracks of background vocals to one bus and then apply one reverb effect to that bus Individually applying the same reverb to each vocal track would inefficiently drain CPU resources You can create up to 26 buses After you create and configure a bus you can output tracks to it See Specifying track input and output devices on page 181 Then on the Bus tab of the track controls you can change the ratio of wet to dry sound that tracks send to assigned buses 194 CHAPTER 7 Mixing Multitrack Sessions B omen woen Contig contig Pano Pano The Bus Mixer A Bus controls B Scroll bar To create and configure a new bus 1 In Multitrack View choose Window gt Mixer 2 Click the Bus Mixer tab and then click New in the right most Bus channel 3 In the Bus Properties dialog box enter a name in the Friendly Name field and select an output device 4 In Installed Real Time Effects list select effects for the bus and click Add 5 Click OK ADOBE AUDITION 1 5 195 User Guide To mix and reconfigure buses 1 In Multitrack View choose Window gt Mixer 2 Click the Bus Mixer tab and then set the following options Out Opens the Bus Properties dialog box where you can specify a different output device or combination of effects Config Opens the configuration window for the selected bus Here you can access the parameters for each effect a
51. external hardware device such as a videotape machine Before using a session as a master or slave you must set general SMPTE options that apply to all multitrack sessions See Setting up for SMPTE synchronization on page 40 As a SMPTE master a session generates timecode in the SMPTE time format you select for the timeline As a SMPTE slave a session receives timecode generated elsewhere reporting the following synchronization statuses in the left of the status bar e Opened MIDI Input Device when waiting for incoming timecode e Synchronizing when establishing synchronization Adobe Audition requires about 5 seconds of timecode known as preroll to establish synchronization e Playback Synchronized when synchronization is established ADOBE AUDITION 1 5 167 User Guide Note Adobe Audition sends and receives timecode through the MIDI Out and MIDI In ports of your system To configure these ports see Setting up for SMPTE synchronization on page 40 To use a session as a SMPTE master 1 Choose Options gt SMPTE Master Enable 2 Select the desired SMPTE time format for the timeline see Monitoring time on page 69 To use a session as a SMPTE slave 1 Choose Options gt SMPTE Start Offset click Format and select the desired SMPTE time format 2 Enter the desired start point in the SMPTE Start Time Offset box and then click OK This option defines Adobe Audition s start point it doesn t offse
52. function supports scrubbing meaning that on some sound cards the audio file plays back at a lower volume as the playback cursor shuttles over the waveform or session ea Right click the Fast Forward button to set the rate at which the cursor moves e The Go to End button gt I places the playback cursor at the end of a waveform in Edit View or at the end of the list clip in a session in Multitrack View Monitoring recording and playback levels Adobe Audition provides the Level Meters to help you monitor the amplitude of the signal during recording and playback If the amplitude is too high clipping occurs and results in distortion if the amplitude is too low the sound quality is reduced If you find that the signal is too high or low during recording and playback you can adjust the input and output levels of your sound card 80 CHAPTER 3 Importing Recording and Playing Audio Using the Level Meters The Level Meters represent the incoming signal in dBFS decibels below full scale where a level of 0 dB is the maximum amplitude possible before clipping occurs Yellow peak indicators remain for 1 5 seconds to allow for reading of the peak amplitude If clipping does occur the clip indicator to the right of the meter lights up and stays on until you clear it When stereo audio is displayed the top meter represents the left channel and the bottom represents the right You can customize the Level Meters in a variety of ways
53. in voltage on a wire These changes in voltage match the pressure waves of the original sound high pressure is represented by positive voltage and low pressure is represented by negative voltage Voltages travel down the microphone wire and can be recorded onto tape as changes in magnetic strength or onto vinyl records as changes in amplitude in the groove A speaker works like a microphone in reverse taking the voltage signals from a micro phone or recording and vibrating to re create the pressure wave Digital audio Unlike analog storage media such as magnetic tape and vinyl records computers store audio information digitally as a series of zeroes and ones In digital storage the original waveform is broken up into individual samples This process is typically known as digitizing or sampling the audio but it is sometimes called analog to digital conversion The sampling rate defines how often a sample is taken For example CD quality sound has 44 100 samples for each second of a waveform Sampling rate The sampling rate determines the frequency range of an audio file The higher the sampling rate the closer the shape of the digital waveform will be to that of the original analog waveform Low sampling rates limit the range of frequencies that can be recorded which can result in a recording that poorly represents the original sound ADOBE AUDITION 1 5 Two sample rates A Low sample rate that distorts the original sou
54. indicates that the controls are visible e Click the Hide Show Transport Controls button 3 in the View toolbar See Using toolbars on page 13 If you don t like the default location of the transport controls you can reposition them or detach them so they float above the main window See Using windows on page 14 72 CHAPTER 3 Importing Recording and Playing Audio Recording audio You can record audio from a microphone or any signal you can plug into the Line In port of a sound card Note You may need to adjust the input signal to obtain the optimum recording and signal to noise levels See Adjusting a sound card s levels on page 82 By default Adobe Audition displays waveforms in real time while recording However if the recorded audio is choppy deselect Live Update During Recording in the General tab of the Settings dialog box See Setting Adobe Audition preferences on page 43 Recording audio in Edit View In Edit View you can record audio into a new file or over existing audio You can also disable the Record button so you don t start recording accidentally To record in Edit View 1 Do one of the following e Create a new file See Creating new audio files on page 84 e In an existing file place the current time indicator where you want to start recording See Setting the current time indicator on page 68 2 Click the Record button to begin recording 3
55. 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 removes all frequencies above the Nyquist limit thus keeping them from generating false frequencies at the low end of the spectrum In general select this option for best results e Upsampling Quality Level Enter a value 30 to 1000 for upsampling quality Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones A lower quality setting requires less processing time but results 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 a higher value whenever you downsample from a high sample rate to a low VE rate For upsampling a lower value produces quality almost identical to a higher value The difference lies in the larger phase shift that exists at higher frequencies but since the phase shift is completely linear it s very difficult to notice Downsampling at even the lowest values generally doesn t introduce any undesired noisy artifacts Instead the sound might be slightly muffled because of the increased high end fi
56. is standard on NeXT and Sun computers and it has many data types Adobe Audition supports the CCITT A Law mu Law G 721 ADPCM and linear PCM data variants Like Windows PCM and AIFF this format can support mono or stereo 16 or 8 bit and a wide range of sample rates when saved as linear PCM The NeXT Sun format is most commonly used for compressing 16 bit data to 8 bit mu law data AU is used quite extensively on the Web and in Java applications and applets Options Choose from the following e mu Law 8 bit uses the mu law 8 bit format to compress the file e A Law 8 bit uses the A law 8 bit format to compress the file e G 721 ADPCM 4 bit applies the standard CCITT G 721 compression to the file ADPCM at 32Kbps e Linear PCM saves the file as uncompressed linear PCM Pulse Code Modulation SampleVision smp The SampleVision format is native to Turtle Beach s SampleVision program This format supports only mono 16 bit audio If a file is in a different format Adobe Audition prompts you to convert it before saving it This format also supports loop points which you can edit in the Cue List window 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 In the Play List window you can enter the number of times to loop the cue range ADOBE AUDITION 1 5 239 User Guide Windows Media Audio wma
57. meet their amplitudes add to and subtract from each other If the peaks and troughs of the two waveforms line up they are said to be in phase In this case each peak adds to the peak in the other waveform and each trough subtracts from the other trough resulting in a waveform that has higher amplitude than either individual waveform ADOBE AUDITION 1 5 269 User Guide In phase waves reinforce each other Sometimes the peaks of one waveform match up with the troughs of another The peaks and troughs will cancel each other out resulting in no waveform at all Such waveforms are said to be 180 degrees out of phase Out of phase waves cancel each other out In all other cases waves are out of phase by some amount This results in a waveform that is more complex than either of the original waveforms continuing to add waves makes a more and more complicated waveform Keep in mind however that a single instrument can create extremely complex waves because of the unique structure of the instrument a violin and a trumpet sound different even when playing the same note When you see music voice noise and other complicated sounds represented by a waveform you see all the waveforms from each sound added together 270 Digital Audio Primer Two simple waves combine to create a complex wave Analog audio A microphone works by converting the pressure waves of sound into changes
58. of buffers Increasing this number may also help for some configurations The default setting is 10 Background Mixing Priority Specifies the priority level of the background mixing process in a multitrack session Lower values indicate a higher level of priority above other system events You can use fractional numbers such as 0 8 The default setting is 2 ADOBE AUDITION 1 5 55 User Guide Open Order Determines the order in which Adobe Audition opens a sound card s playback in and record out ports for use in the multitrack environment This order is relevant only for older sound cards that don t support full duplex capability Start Order Determines the order in which Adobe Audition starts a sound card s playback in and record out ports for use in the multitrack environment This order is relevant only for older sound cards that don t support full duplex capability Correct For Drift In Recordings Synchronizes 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
59. on page 36 ADOBE AUDITION 1 5 13 User Guide To customize a shortcut 1 Choose Options gt Keyboard Shortcuts And MIDI Trigger 2 Select the function you want to assign the shortcut to Note You can filter the list of functions by choosing an option from the Category menu and clicking the Multitrack View or Edit View button To show all functions choose show all from the Category menu and deselect the Multitrack View and Edit View buttons 3 Do any of the following e To assign a keyboard shortcut to the function click in the Keyboard Shortcut text box and press the desired keyboard combination Many Adobe Audition users find single key shortcuts such as n for Normalize faster to use and easier to remember e To assign a MIDI trigger to the function click in the MIDI Trigger text box and press the desired key on the MIDI keyboard You can also apply MIDI events other than pressing keys such as pressing the foot pedal e To remove a keyboard shortcut or MIDI trigger from the function click Clear 4 Ifyou enter a key combination that s already in use Adobe Audition notifies you of the conflict in the Conflicting Keys text box Click Clear and enter a different shortcut before continuing 5 Click OK To restore the default keyboard shortcuts 1 Choose Options gt Keyboard Shortcuts And MIDI Trigger 2 Choose Adobe Audition Default from the Set list and click OK Using toolbars Many of Adobe Audition s most c
60. or an external hardware device such as a videotape machine See Using sessions as SMPTE masters or slaves on page 166 Adobe Audition sends and receives SMPTE timecode via MIDI timecode MTC which Windows transmits through your system s MIDI Out and MIDI In ports MTC is a digital signal to convert analog SMPTE timecode from a video or audio tape deck to digital MTC you must use an appropriate MIDI interface To designate the devices with which you want to synchronize 1 Choose Options gt Device Properties 2 Click the MIDI Out tab and choose a device for SMPTE Output This is the device to which Adobe Audition will send the MIDI timecode 3 Click the MIDI In tab and choose the device for SMPTE Slave Device This is the device from which Adobe Audition will receive the MIDI timecode 4 Click OK ADOBE AUDITION 1 5 41 User Guide To set options for incoming SMPTE timecode 1 If your MIDI interface supports sample accurate synchronization choose Options gt Sample Accurate Sync 2 Choose Options gt Settings and click the SMPTE tab 3 Set the following options Lead Time Specifies the amount of time in milliseconds in which Adobe Audition estab lishes synchronization with incoming timecode Lower settings 200 and lower result in faster transport response but may prevent Adobe Audition from establishing synchroni zation Settings of 500 to 1000 are sufficient on most systems Stopping Time Specifies the
61. out of band peaks When you amplify audio the audio samples may extend beyond the clipping point If out of band peaks occur you can choose to just let it clip the waveform and cause distortion or you can apply limiting to those areas so the audio doesn t clip the waveform a common practice for TV commercials so they sound louder e No Limiting Clip prevents limiting so clipped distorted audio might occur e Use Limiting applies the Hard Limiter if needed to keep out of band peaks from being clipped This options provides two additional options Look Ahead Time and Release Time e Lookahead Time specifies the number of milliseconds generally needed to attenuate audio before reaching the loudest peak Note If this value is too small audible distortion might occur Make sure that the value is at least 5 milliseconds e Release Time specifies the number of milliseconds needed for the attenuation to rebound 12 dB or roughly the time needed for audio to resume normal volume if an extremely loud peak is encountered Note A setting of 200 milliseconds works well to preserve low bass frequencies If the setting is too high audio may stay quiet and not resume normal levels for a while Statistics RMS Width Specifies the length of the audio selection to use for calculating the RMS Root Mean Square minimum and maximum values ADOBE AUDITION 1 5 247 Batch processing files The Batch Processing dialog box in Adobe Audition
62. pop up menu To see the pop up menu hold down the Ctrl key as you right click Default Selection Range Determines the amount of waveform data that automatically gets selected if nothing is already highlighted when you apply an effect e View If this 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 you re only viewing a portion of it Double clicking always selects the current view Triple clicking always selects the entire waveform Highlight After Paste Highlights the inserted selection when performing a Paste operation Deselect this option to have the cursor placed at the end of the pasted selection instead e Deselect this option for easier multiple pastes one after the other System options The System tab in the Settings dialog box provides options for configuring how Adobe Audition interacts with your system 46 CHAPTER 2 Setting up Adobe Audition Edit View Play Record Buffer Determines the buffer size in seconds to be used when sending data to and from your sound card when playing back or recording in Edit View Different sound card devices may require different memory buffer settings The default settings should work fine for most sound cards but if you hear choppiness skips or dropouts in recording or playback you may need to adjust the buff
63. prepare audio for specific mediums such as audio CD or the Web See Scripting and Batch Processing on page 243 4 Learning about Adobe Audition If you want to create video soundtracks e Easily create and remix soundtracks used in Adobe Premiere Pro and After Effects projects See Working with Adobe Premiere Pro and After Effects on page 207 e Time stretch audio clips to match video See Time stretching audio clips on page 177 e Generate noises and tones for sound effects See Generating audio on page 106 e Create surround sound mixes See About surround sound on page 213 If you want to record and mix musical compositions e Nondestructively record and edit multitrack sessions of up to 128 tracks See About mixing multitrack sessions on page 161 e Automate mixes with clip envelopes See Automating mixes with clip envelopes on page 188 Apply edit and rearrange real time effects without making any permanent changes See Using real time effects on page 185 e Build compositions with musical loops See About loops on page 197 e Synchronize with ReWire and SMPTE See Setting up ReWire connections on page 42 and Setting up for SMPTE synchronization on page 40 What s New in Adobe Audition 1 5 including streamlined workflow with other Adobe products powerful new effects T his overview introduces you to the key new feat
64. properties for time stretching you also specify which method of time stretching to use Like other features in Multitrack View time stretching is nondestructive so you can disable it at any time Note Time stretching changes the tempo of a clip If you time stretch a loop enabled clip it won t match the session tempo Dragging to time stretch a clip To time stretch a clip by dragging 1 In the toolbar click the Clip Time Stretching button 2 Select the clip and then position the cursor over the clip s bottom left or right handle the time stretch icon 8 appears 3 Drag the handle to lengthen or shorten the clip x To temporarily enter time stretching mode hold down Ctrl and drag a clip handle To set time stretch properties 1 Right click the clip and choose Clip Time Stretch Properties 2 Select Enable Time Stretching and enter a percentage in the Time Stretch text box 178 CHAPTER 7 Mixing Multitrack Sessions 3 Choose one of the following time stretching options from the pop up menu set related options and then click OK Time Scale Stretch Stretches the clip without affecting pitch This method is most commonly used for melodic instruments like piano bass and guitar Because this method bases the stretch on the actual length and duration of the file use it only to stretch audio that doesn t have well defined beats like a synth pad or sustained string section Resample Affects Pitch
65. range for the low middle and high bands Then you can use a graph to visually adjust equalization settings Note In the track controls track equalization text boxes appear in the EQ tab by default To reveal these fields in other tabs increase the width of the track controls Switching between Eq A and Eq B settings To equalize a track by using the track controls 1 On the EQ tab drag across the Low L Middle M or High H text box 2 To switch to a different bank of equalization settings click the Eq A or Eq B button Double click the button to copy the current settings to the other bank To equalize a track by using the Track Equalizers window 1 Select the track and then choose Window gt Track EQ Alternatively click the EQ tab in the track controls and then right click the H M or L box 2 Set the desired options Q For more information search for Track Equalizers options in Help 184 CHAPTER 7 Mixing Multitrack Sessions Working with ReWire tracks To work with ReWire tracks you must first set up ReWire connections assigning ReWire outputs to one or more tracks in a session See Setting up ReWire connections on page 42 ReWire tracks offer similar controls to audio tracks For example you can quickly change volume pan and equalization settings or you can apply real time effects Similarly you can assign a different device to a ReWire track at any time Note however that saved
66. respective channel that will be mixed into the final mono waveform The most common mixing method is to use 50 of both channels 4 Click OK ADOBE AUDITION 1 5 113 User Guide To remove all or most of the lead vocals from many stereo music recordings you can x 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 signal so that it s out of phase often greatly reduces or eliminates the vocal track s level To create a stereo waveform with different waveforms in each channel 1 Copy the mono waveform you want to place in the left channel 2 Create a new file and choose Edit gt Mix Paste 3 Select Overlap and deselect Lock L R Set the left volume to 100 set the right volume to 0 and click OK 4 Copy the mono waveform you want to place in the right channel 5 Switch back to the new file you just created and choose Edit gt Mix Paste 6 This time set the left volume to 0 and the right volume to 100 Click OK Changing the bit depth The bit depth of a file determines the dynamic range of the audio For example 8 bit resolution provides 256 possible unique volumes while 16 bit resolution provides 65 536 possible unique volumes Adobe Audition supports up to 32 bit resolution You can raise the bit depth of a file to gain a greater dynamic range or you can lower the bit depth to reduce the f
67. selected device to which Adobe Audition routes its 6 channel output See Setting the preview device and format on page 222 Setting the preview device and format The Preview Device Format option lets you specify the device and format of the previewed audio This option also displays the currently selected bit rate for preview playback For information about device requirements see Using the Multichannel Encoder on page 214 To make changes to the device and bit selections 1 Click the Change button to the right of the Preview Device Format option 2 From the Multichannel Output Device menu specify the preview sound card ADOBE AUDITION 1 5 223 User Guide Note Some sound cards that offer 5 1 playback such as the Creative Labs Audigy display only one device driver in the list In this case this is the device you should select because the sound card s driver will route the six channels of audio to the correct speakers If a multichannel device driver is not available from the sound card s manufacturer you probably won t get a true surround sound preview For sound cards that offer an interleaved multichannel driver you should select this from the list These driver types will accept the 6 audio input from Adobe Audition and automatically route it to the standard Microsoft 5 1 channel configuration 3 From the Preview Format Selector menu select the bit rate of the preview playback material that is sent to your s
68. such as changing the decibel range showing valley minimum amplitude indicators and changing the mode of the peak indicators 59 Right click the Level Meters to set metering options The Level Meters A Left channel B Right channel C Peak indicators D Clip indicators To show or hide the Level Meters Do one of the following e Choose Window gt Level Meters A check mark indicates that the Level Meters are visible e Click the Hide Show Level Meters button amp in the View toolbar See Using toolbars on page 13 If you don t like the default location of the Level Meters you can reposition them or detach them so they float above the main window See Using windows on page 14 To start or stop monitoring the levels of an input source Choose Options gt Monitor Record Level or double click the Level Meters To disable or enable the Level Meters during recording or playback Choose Options gt Show Levels On Play And Record Disabling the Level Meters improves performance on lower specification computers ADOBE AUDITION 1 5 81 User Guide To clear a clip indicator Click the clip indicator or right click the Level Meters and choose Clear Clip Indicator Note The clip indicators always light up if clipping occurs but if Adjust For DC is enabled the indicators light up if audio has a DC offset To adjust for DC offset Right click the Level Meters and choose Adjust For DC Many sound c
69. that See Changing the sample rate on page 111 To adjust the sample rate 1 Choose Edit gt Adjust Sample Rate 2 Enter a sample rate in the text box or choose a common sample rate from the list 3 Click OK Note Although you can create and edit any sample rate in Adobe Audition your sound card may not be capable of playing it properly To check the capabilities of your sound card choose Options gt Device Properties See Setting properties for audio output devices on page 37 Changing the sample rate The sample rate of a file determines the overall bandwidth of the waveform that is how many frequencies can be encoded within the audio signal When changing the sample rate keep in mind that most sound cards support only certain sample rates To change the sample rate of a file 1 Choose Edit gt Convert Sample Type Alternatively click the Convert Sample Type button ig in the toolbar 2 Select a rate from the Sample Rate list or enter a custom rate in the text box 3 Drag the Low High Quality slider to adjust the quality of the sampling conversion 112 CHAPTER 4 Editing Audio Higher values retain more high frequencies they prevent aliasing of higher frequencies to lower ones but the conversion takes longer Lower values requires less processing time but result in certain high frequencies being rolled off leading to muffled sounding audio Usually values between 100 and 400 are fine for mos
70. that you want to apply often and in combination to achieve a certain sound You can record these steps along with effects specific settings and then apply them at any time simply by calling the script Batch processing cue ranges You can use the Batch feature in the Cue List to add silence between cues and save the audio between cues to new files For more information about cues the Cue List and cue ranges see Working with cues on page 96 To batch process cues 1 Choose Window gt Cue List 2 Select one or more cues in the Cue List dialog box At least one of the cues you select must be a range 3 Click Batch at the bottom of the dialog box 244 CHAPTER 12 Scripting and Batch Processing 4 Set the following options as desired and click OK Set Amount Of Silence Adds silence between cue points in the current waveform Enter the number of seconds of silence you want in the Add Silence Before and Add Silence After text boxes Save To Files Splits the audio between cue points in the active waveform to new files Use Cue Label As Filename Uses the name of the cue as the prefix for the filename Filename Prefix Specifies the prefix for the filename such as phrase Adobe Audition automatically adds numbers after the prefix phrase02 phrase03 and so on in addition to the correct extension based on the output format you specify Seq Start Specifies the number to begin with when appending numbers to th
71. the Organizer window expand Delay Effects and double click Dynamic Delay 3 Set the desired options For more information search for Dynamic Delay options in Help Using the Echo effect This effect adds a series of repeated decaying echoes to a sound For a single echo use the Delay effect instead You can create effects ranging from a Grand Canyon type Hello ello llo lo o to metallic clanging drainpipe sounds by varying the delay amount By equalizing the delays you can change a room s characteristic sound from one with reflective surfaces creating echoes that have bright shiny high end sounds to one that is almost totally absorptive meaning very few high end sounds are reflected Note Make sure that enough silence is at the end of the waveform for the echo to end If the echo is cut off abruptly before it fully decays undo the Echo effect add several seconds of silence by choosing Generate gt Silence and then reapply the Echo effect You can create striking stereo echo effects by setting different left and right values for the Decay Delay and Initial Echo Volume controls To use the Echo effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Echo 3 Set the desired options For more information search for Echo options in Help ADOBE AUDITION 1 5 Using the Echo Chamber effect The
72. the amplitude is zero called zero crossings Selecting the zero crossing points reduces the chance that an edit will create an audible pop or click You can easily adjust a selection to the closest zero crossing points by using a Zero Crossing command To adjust a selection to zero crossing points Choose Edit gt Zero Crossing and choose one of the following commands e Adjust Selection Inward adjusts both range boundaries inward to the next zero crossing point Alternatively click the Zero Crossing button iif in the toolbar e Adjust Selection Outward adjusts both range boundaries outward to the next zero crossing point e Adjust Left Side To Left adjusts the left range boundary leftward to the next zero crossing point e Adjust Left Side To Right adjusts the left range boundary rightward to the next zero crossing point 90 CHAPTER 4 Editing Audio e Adjust Right Side To Left adjusts the right range boundary leftward to the next zero crossing point e Adjust Right Side to Right adjusts the right range boundary rightward to the next zero crossing point Finding beats For some editing tasks such as constructing drum loops and similar musical phrases you need to select audio between beats You can usually pick out where the beats are by looking for the peaks in a waveform You can also use a Find Beats command Once you find beats you can save them as Beat Cues making it easy to locate the beats again See W
73. the current time in the waveform The Time window shows the current time in numerical format The default display format is mm ss ddd minutes seconds thousandths of a second but you can easily change it The display format is also used by the timeline along the bottom of the display window 70 CHAPTER 3 Importing Recording and Playing Audio 7 T 7 T T T T T T T B hms 27 03 09 0 27 03 10 0 27 03 11 0 27 03 12 0 27 03 13 0 27 0 i Aes OS 1 Features that help you monitor time A Playback cursor B Timeline C Time window To display the Time window Do one of the following e Choose Window gt Time A check mark indicates that the window is visible e Click the Hide Show Time Window button m in the View toolbar See Using toolbars on page 13 If you don t like the default location of the Time window you can reposition it or detach it so it floats above the main window See Using windows on page 14 To change the time display format Choose View gt Display Time Format and choose the desired option e Decimal mm ss ddd displays time in minutes seconds and thousandths of a second e Compact Disc 75 fps displays time in the same format utilized by audio compact discs where each second equals 75 frames e SMPTE 30 fps displays time in the SMPTE format where each second equals 30 frames e SMPTE Drop 29 97 fps displays time in the SMPTE drop frame format where each second equals 29 97 frames
74. the currently selected color scheme as a preset Delete Deletes the currently highlighted color scheme preset Waveform Tab Lists all of Adobe Audition s waveform elements to which you can assign custom colors Choose an item from the list and click the Change Color button to change the color To adjust the appearance of the selected highlighted portions of waveforms and blocks select a Selection option e Transparency Drag the slider or enter a value to adjust the transparent value in percentage of a selection 0 is no transparency and 100 is maximum transparency e Invert Select to set the selection colors to the inverse of the nonselected colors ADOBE AUDITION 1 5 49 User Guide Spectral Tab Lists the display elements for Adobe Audition s spectral display Select an item from the list and click the Change Color button to adjust the element s color For Spectrum choose one of these options e Reverse Direction Inverts the normal colors of the spectrum display similar to an Invert or Negative command in a photo editor e Gamma Adjusts the overall brightness of the Spectral View Positive numbers make the display brighter while negative numbers darken the display This setting works just like the Gamma function in many image editors To adjust the appearance of the selected highlighted portions of waveforms in spectral display choose a Selection option e Transparency Drag the slider or enter a value to adju
75. the effect you want you may be able to purchase a plug in effect to do the job As you apply effects you ll notice similarities between Adobe Audition s effect dialog boxes For example many effect dialog boxes provide presets for storing and recalling your favorite settings Some effect dialog boxes also provide graph controls for adjusting settings As you adjust settings you can use the Preview option to preview effects in real time o For information on using specific effects search for the effect name in Help or look in the index Using presets Many of Adobe Audition s effects and other functions have presets that are available for easily storing and recalling your favorite settings You can add and remove presets at any time Presets _Add dal 10dB Boost a 10dB Cut 3dB Boost 3dB Cut 6dB Boost 6dB Cut Center Wave FadeIn Fade In Right v Presets in the Amplify Fade dialog box ADOBE AUDITION 1 5 29 User Guide To apply a preset Double click the preset name The settings defined by the preset are reflected in the dialog box To add a preset 1 Adjust the effect settings as desired 2 Click Add in the Presets area of the effect dialog box 3 Enter a name for the preset and click OK Your new preset is added to the list of other presets which is automatically sorted alphabetically To modify a preset 1 Double click the preset name and adjust the settings as desired 2 Click Add en
76. the top of the Files tab 2 Select the file you want to preview and then click the Play button gt Click the Stop button to stop the preview Use the volume slider to adjust the volume of the preview To enable auto play Click the Auto play button on the Files tab Adobe Audition automatically previews files you select To disable auto play click the Auto play button again 78 CHAPTER 3 Importing Recording and Playing Audio To preview a file at the session tempo Multitrack View only In Multitrack View select Follow Session on the Files tab and then click the Play button or enable auto play and select a file Note Only files that are loop enabled can be previewed at the session tempo Loop enabled files are identified with a loop icon in the Files tab To enable continuous loop preview Click the Loop button s on the Files tab and then click the Play button or enable auto play and select a file To disable continuous loop preview click the Loop button again Playing audio by using the Windows Run command You can start Adobe Audition and begin playing a file by using the Windows Run command Before using the command make sure that Auto Play On Command Line Load in the General tab of the Settings dialog box is selected See Setting Adobe Audition preferences on page 43 To play audio from the command line In the Windows Run dialog box type the following text and click OK drive Program Files Ado
77. the waveform display e To select adjacent contiguous cues click the first cue you want to select in the cue list and then Shift click the last e To select nonadjacent noncontiguous cues Ctrl click them in the cue list Playing cues The Auto Play feature in the Cue List window causes Adobe Audition to automatically play cues when you select them To enable or disable the Auto Play feature for cues Click the Auto Play button in the Cue List window Choosing a cue type Adobe Audition provides four cue types All four can be ranges as well as points although it doesn t really make sense for index cues to be ranges Consider the following when choosing a cue type e Basic Cues lets you mark important sections of a waveform for later reference for example to remind yourself of an editing point Basic cues are also useful for speci fying stop and start positions for the play list 98 CHAPTER 4 Editing Audio e Beat Cues is just like Basic Cues but you use it to mark musical beats Beat cues are a very powerful feature because an audio file saved with them allows the beat mapping loop method to be very accurate For more information on creating and using loops see About loops on page 197 e Track Cues lets you indicate a split in tracks for an audio compact disc Use these cues only for burning CDs See Inserting tracks on page 258 e Index Cues lets you set markers within a CD track Some CD players
78. to a new file where you can set the loop s properties See Setting permanent loop properties in Edit View on page 200 Calculating the tempo of selected ranges In both Edit View and Multitrack View you can calculate the tempo of a selected range by using the Edit Tempo command This command lets you quickly determine loop tempo in Edit View or change session tempo in Multitrack View It also lets you change the beats per minute bpm value for horizontal rulers in the Bars and Beats time format To calculate the tempo of a selected range 1 Choose View gt Display Time Format gt Edit Tempo 2 Set the following options and click OK Beats Highlighted Bars Highlighted Specifies the number of beats or bars highlighted in the selection according to the Bars and Beats format This number will probably be wrong initially because you haven t defined the tempo yet In this case enter the correct number of bars to use for extracting tempo information Extract Calculates tempo information from the highlighted selection and fills in the Beats per Minute and Offset values Before clicking Extract make sure to enter a value for Beats per Bar Current Beat At Defines the bar and beat information for the selection s starting point or the current cursor position if no selection has been made Adobe Audition assumes that this represents a downbeat Changing this value updates the Song Start value based on the current tempo settings
79. to only the LFE channel this option attenuates the amount of this track s output sent to the LFE channel Note The Multichannel Encoder does not apply filtering to audio sent to the LFE channel nor during preview exporting or encoding 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 Use 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 Center Channel Level Determines the balance of the Front Left Center and Front Right channels when in the Surround Panner modes When set to 100 the Center channel receives an equal percentage of signal as the Front Left and Front Right channels The position of the Panner Point then determines the positional panning according to this Front Left Center Front Right balance ratio Track Level Controls the amplitude level of the currently selected track within the Multi channel mix in any selected Surround Panner mode ADOBE AUDITION 1 5 221 User Guide Zooming into and out of the waveform display There are several options for zooming in and out within the waveform display To zoom the waveform In the Multichannel Encoder dialog box do any of the following e Place the mouse cursor over the time ruler that runs across the bottom of the waveform
80. use and the order in which you want to view them If your audio system includes MIDI devices you can also designate which MIDI input and output devices you want to use For example you can designate a MIDI keyboard to use for triggering commands and a MIDI synthesizer channel to use for playback See About using MIDI devices on page 39 To designate the devices you want to use 1 Choose Options gt Device Order 2 Click the tab for the type of device you want to designate Playback Recording MIDI Output or MIDI Input 3 Move the devices you want to use into the Multitrack Device Preference Order list by selecting devices in the Unused list and clicking Use Remove the devices you don t want to use by selecting devices in the Multitrack Device Preference Order list and clicking Remove Note You can specify up to 16 stereo devices or 32 mono devices in the Multitrack Device Preference Order list 4 Designate the device you want to use in Edit View by selecting the device and clicking Use in EV EV appears after the device name ADOBE AUDITION 1 5 37 User Guide 5 Adjust the order of devices for use in Multitrack View by selecting a device and clicking Move Up or Move Down The first device in the list is the default device This means that by default the first playback device is assigned as the output for all audio tracks in a session and the first recording device is assigned as the input for all audio tracks Lik
81. used to synchronize two devices SMPTE timecode is divided into hours minutes seconds and frames Soundcard A hardware device that lets your computer play and record audio Sound wave A wave of air molecules Humans can hear sound waves with frequencies of 20 to 20 000 Hz Stereo A signal with a left and right channel allowing for spatial placement of sounds Stripe To copy SMPTE timecode to a single track of a multitrack tape so remaining tracks can be synchronized with other devices User Guide 288 Glossary T Tempo The rhythmic speed of music normally measured in bpm See Beats per minute bpm on page 276 Timecode An audio or digital signal that synchronizes time between multiple devices The most common forms are SMPTE and MIDI timecode Track A container for one or more clips in Multitrack View Each track has independent settings for volume pan EQ effects and input and output Each session can have up to 128 tracks Track cue One of four types of Adobe Audition cues Track cues indicate start points for CD tracks Track controls The area of Multitrack View that controls each track with independent settings for volume pan EQ effects and input and output TXT See ASCII text data on page 275 U Unity gain An amplification level that precisely corresponds to the input signal level without amplifying or lowering it Note that audio hardware operates at two line levels 10 dBV for co
82. video application such as Adobe Premiere Pro Though video mixdowns are limited to stereo audio and AVI format audio mixdowns support stereo and surround sound in a variety of formats For more information see Exporting mixes to audio on page 229 and About surround sound on page 213 213 Chapter 10 Creating Surround Sound where you can access the tracks of any existing Multitrack session pan them into A dobe Audition includes the Multichannel Encoder a self contained dialog box the six channels of 5 1 surround sound and export them About surround sound With surround sound heard in many popular movies you can pan an audio mix around the room Adobe Audition supports 5 1 surround sound which requires five speakers plus one low frequency subwoofer LFE To properly preview a 5 1 surround sound mix your computer must have a sound card with at least six outputs and the speakers must be connected and positioned as follows Output 1 Front left speaker Output 2 Front right speaker Output 3 Front center speaker Output 4 LFE Output 5 Left surround speaker Output 6 Right surround speaker Adobe Audition lets you create and export 5 1 surround sound in a multichannel session by using the Multichannel Encoder dialog box With this dialog box you can individually pan each track of a multitrack session to your multichannel setup preview the current mix and export the session You can export you
83. volume envelopes which you can edit See Automating mixes with clip envelopes on page 188 Selecting a range and two clips and applying a linear crossfade To crossfade two clips 1 Place the clips on separate tracks 2 Position the clips so the end point of the first overlaps the start point of the second 3 Across the overlapping area select a transition region for the crossfade To precisely place the start and end points for the crossfade at clip start and end points choose Edit gt Snapping gt Snap To Clips 4 Ctrl click both clips 5 Choose Edit gt Crossfade and then choose one of the following e Linear to produce an even crossfade e Sinusoidal to produce a crossfade with a curved sine like slope e Logarithmic In to fade in logarithmically producing a steeper slope at the end of the fade e Logarithmic Out to fade out logarithmically producing a steeper slope at the beginning of the fade ADOBE AUDITION 1 5 177 User Guide Time stretching audio clips Time stretching lets you change the length of an audio clip without changing its pitch This technique is particularly helpful for fitting audio clips to video scenes or layering clips for sound design You can quickly time stretch a clip either by dragging or setting time stretch properties When you time stretch by dragging Adobe Audition analyzes a clip s contents and attempts to select the most natural sounding time stretch method When you set
84. you Try this Are looking for detailed information about a feature In Help use the Index or Search tabs e In windows and dialog boxes click the Help button or press F1 Want a list of keyboard shortcuts See Keyboard Shortcuts on page 263 Finding Adobe Audition training resources If you Try this Want to obtain in depth Adobe Audition training Are looking for background information on digital audio e See the tutorials on the Adobe Studio Web site at www studio adobe com e Browse the Adobe Press materials at www adobepress com English only and the training resources at www adobe com support training html e For step by step lessons consider the Adobe Classroom in a Book series See the Glossary on page 275 and Digital Audio Primer on page 267 Want information about becoming an Adobe Certified Expert Visit the Partnering with Adobe Web site at http partners adobe com Certification is available for several different geographical regions Want training from an Adobe Certified Training Provider See the Training page of the Adobe Web site at www adobe com support training html ADOBE AUDITION 1 5 3 User Guide Finding support for Adobe Audition If you Try this Want customer or technical e Refer to the technical support card provided with your software support e See the Adobe Audition support page at www a
85. you create a simple waveform and gives you control over numerous amplitude and frequency related settings Generating tones is a great place to start when you create new sound effects To generate tones 1 Place the cursor where you want to insert the tones Or if you want to replace part of the existing waveform select the desired range of audio data 2 Choose Generate gt Tones User Guide 109 110 CHAPTER 4 Editing Audio 3 Do one of the following To create a constant tone select Lock To These Settings Only Then set options as desired and click OK e To create a tone that changes dynamically over time deselect Lock To These Settings Only Use the Initial Settings tab to set options for the initial tone and use the Final Settings tab to set options for the final tone After you set options click OK The tone generated will gradually go from the initial state to the final state Q For more information search for Generate Tones options in Help Converting the sample type A file s sample type determines its sample rate and bit depth as well as the channel format whether the waveform is mono or stereo You can convert the sample type to change any of these attributes When you convert the sample type of a file Adobe Audition directly processes the samples within the file or resamples the data so that the audio retains the same pitch and duration as the original file About sample rates During
86. 0 Hz or whatever the maximum frequency present is based on the sample rate To use the Frequency Band Splitter effect 1 In the track display in Multitrack View select the clip or the range you want to process Use the Hybrid tool or the Time Selection tool I to select a range 2 Ctrl click the wave clip Note If more than one wave clip is selected the Frequency Band Splitter effect is unavailable Also if you select a range by dragging across a clip that clip is selected by default if you Ctrl click the clip you will deselect it 3 In the Effects tab of the Organizer window expand Multitrack and double click Frequency Band Splitter 4 Set the desired options For more information search for Frequency Band Splitter options in Help Using the Vocoder effect Multitrack View only A vocoder takes two inputs usually an instrument and a voice and modulates one signal the process signal usually the instrument with the other the control signal usually the voice This modulation allows one signal to control the other In the example here the instrument the process signal could be made to sing by affecting it with the voice the control signal ADOBE AUDITION 1 5 159 User Guide To use the Vocoder effect 1 In Multitrack View position the wave clips so that the sections you want to process together are aligned 2 Select the Hybrid tool or the Time Selection tool I 3 In the trac
87. 5 215 Adjusting volume levels eee cece cence eee eee e nee enee 220 Zooming into and out of the waveform display 221 Previewing the multichannel project cece ence eee 221 Exporting surround sound files cece eee eee eee ee cence 223 Saving Exporting and Closing Files Saving audio files cssceiacekstiscteveseeeseve E AENEA R eee 227 Saving and exporting sessions cece cece eee eee eens 228 Closing files saire ssr eresas EEA EE veers ood eleade ies ves 231 Choosing an audio file format 6 ec eee cece eee eee e cence 231 Scripting and Batch Processing About scripting and batch processing 0 see eee eee eee 243 Batch processing cue ranges oe eee e eee e eee e eee eee eens 243 Normalizing groups of files 0 cece cece eee eee eee eeees 244 Batch processing files sss csscsaeveeevasasdeaadasiesaewnraesss 247 Working Wwithiscripts cssseesaieensecsee sand saduseneaeeaacsen 249 Using favorites Edit View only oo se eee cece eee eee eee eee 253 Chapter 13 Appendix A Appendix B Appendix C Burning Audio CDs Using CD Project VIEW sieicsisrsisieairr puinn sanen ASSEMDIING TACKS sdisiecssasntatdedsite saih sense watinclad weed ads Editing the source audio for trackS 20 ee eee cece eee e ees Setting track properties 6 eee cece e ence e ee Whiting aCD veccscateosacdedeteweredteonmeteitvedardebaenens Keyboard Shortcuts About keyboard shortcuts 0
88. 6 SMPTE Slave Enable command 166 SMPTE Start Offset command 166 Snap To Clips command 205 Snap to Frames command 209 Snap To Loop Endpoints command 205 Snap To Ruler Coarse command 205 Snap To Zero Crossings command 198 snapping about 91 clips 170 SND format 233 238 soloing tracks 181 sound card defined 287 positioning information 46 sound wave defined 287 sound fundamentals of 267 special effects convolution 153 distortion 153 music 153 noise 108 tones 109 spectral display adjusting 49 Spectral View adjusting display settings 50 selecting frequencies in 88 switching between Waveform View and 85 using 85 splines 29 Split command 172 SPTI SCSI Pass Through Interface 46 Static Peaks option 81 Statistics command 123 Status Bar window 21 stereo defined 287 imagery changing 139 Stereo Field Rotate effect 141 stereo waveforms choosing which channel to edit 92 converting to mono 112 stop playing or recording 78 Stretch effect 146 stretching audio 146 177 stripe defined 287 Studio Reverb effect 153 subwoofer 217 Surround Panner 216 217 SVX format 233 Sweeping Phaser effect 144 symmetric dithering 52 Synchronize Clips With Edit View command 69 Synchronize Cursor Across Windows command 69 synchronizing loops 205 multitrack latency 39 T Take History command 75 tempo defined 288 editing 71 temporary folders managing size of 57 setting location 47 time disp
89. 68 LigleadGo3 Simultaneously selecting a range and clips in the track display Upper three clips are selected fourth isn t ADOBE AUDITION 1 5 165 To select a range in the track display 1 In the toolbar select either the Hybrid tool or the Time Selection tool I 2 In the track display do one of the following e To select only a range click an empty area of the track display and drag left or right e To select a range and clips click a clip and drag left or right while dragging up or down Measuring performance with the Mix Gauge and Load Meter In Multitrack View the Mix Gauge and Load Meter help you measure and optimize performance The Mix Gauge displays the progress of background mixing a process that Adobe Audition completes whenever you edit a mix for example by moving a clip or changing track volume Background mixing lets you monitor an updated mixdown of a session and is complete when the Mix Gauge reaches 100 You needn t wait for the Mix Gauge before clicking the Play button though audio may skip or drop out The Load Meter shows the percentage of available CPU power a particularly important value if you use real time effects Unlike the Mix Gauge the Load Meter indicates a problem if it reaches 100 At that level your system will perform erratically because the CPU has no additional processing power You can reduce CPU load by locking real time effects See Locking tracks with real time eff
90. 9 grouping in Effects tab 26 plug ins 32 presets 28 real time about 185 using in Edit View 139 Effects Rack dialog box 185 Effects tab in Organizer window 26 8 bit signed format 232 empty audio clips inserting 178 Enable DirectX Effects command 32 Enable Preroll And Postroll Preview command 32 enhancing audio about 117 Envelope effect 135 Envelope Follower effect 157 envelopes defined 280 for clips 188 equal loudness contour 246 equalization EQ defined 280 expander defined 280 exporting mixdowns to audio 229 mixdowns to video 230 Extract Audio From CD command 65 Extract Audio From CD options 66 F fading audio files 134 Fast Fourier Transform FFT defined 280 fast forwarding 79 favorites about 253 viewing in Favorites tab 27 FFT Filter effect 130 files See also specific format names backward compatibility 51 choosing a format 231 closing 25 converting to a different format 227 229 creating new 84 linking to Adobe Premiere Pro or After Effects 51 207 monitoring size of 22 opening 61 properties adding 116 renaming 249 saving audio to 227 Files tab 24 filtering audio about 129 Find Beats And Mark command 198 Find Beats commands 90 5 1 surround sound 213 flange defined 280 Flanger effect 144 Flush Virtual File command 58 flushing defined 281 forcing complete flush 48 Force New Row command 15 frames snapping to 91 frequencies selecting 88 viewing 85 Freque
91. Adobe Audition 1 5 User Guide 7 N Adobe 2004 Adobe Systems Incorporated All rights reserved Adobe Audition 1 5 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 any permission req
92. Also called Nyquist Rate this frequency equals half the current sample rate and determines the highest reproducible audio frequency for that sample rate For example audio CDs use a sampling rate of 44 100 Hz because the resulting Nyquist Frequency is 22 050 Hz just above the limit of human hearing 20 000 Hz Likewise to reproduce a signal with an 11 000 Hz frequency range you must use a sample rate of at least 22 000 Hz To avoid aliasing distortion nearly all analog to digital converters filter out frequencies that exceed the Nyquist Frequency before the analog to digital conversion process For the best audio quality record and edit at higher sample rates and then convert down if needed 0 Offline editing See Destructive editing on page 279 Order A value that determines the slope of an audio filter First order filters attenuate an additional 6 dB per octave second order filters attenuate 12 dB third order filters 18 dB and so on P PCM Pulse Code Modulation PCM is the standard method used to digitally encode audio and is the basic uncompressed data format used in file formats such as WAV and AIFF Peak files Cache files with the extension pk that enable Adobe Audition to open save and redraw audio files more quickly You can safely delete peak files or deselect the Save Peak Cache Files option in the Settings dialog box However keep in mind that without peak files larger audio files will reopen more slowly
93. Audio input level to make sure that clipping won t occur 68 CHAPTER 3 Importing Recording and Playing Audio To preview the CD Audio input level 1 Open your favorite third party CD player application such as Windows Media Player 2 Start playing the loudest part of the CD Then switch to Adobe Audition and choose Options gt Monitor Record Level 3 Use the Level Meters in Adobe Audition to monitor the amplitude of the incoming signal You want the input level to be as loud as possible without exceeding 0 dB If the input level exceeds 0 dB clipping occurs See Monitoring recording and playback levels on page 79 4 If you need to adjust the CD Audio input level choose Options gt Windows Recording Mixer to open the Windows Recording Control panel Adjust the CD Audio input level as desired 5 After you finish monitoring the input level choose Options gt Monitor Record Level To record from a CD internally 1 In Edit View create a new file 2 Click the Record button 3 Start the desired track in your CD player application 4 When desired stop recording in both Adobe Audition and the CD player application Setting the current time indicator The current time indicator is a vertical dotted line in the display window You set the current time indicator in order to start playback or recording at a specific point in a waveform When you work with multiple files in Edit View you can use the Synchronize Cu
94. Audition can import MIDI files as clips on MIDI tracks MIDI tracks contain a subset of the controls available for audio tracks a name text box and controls for solo mute and volume MIDI tracks also however contain one unique control a Map button for assigning MIDI output devices Adobe Audition doesn t include MIDI clips in exported mixdown files You can however convert MIDI clips to audio clips by recording the output of a MIDI sound module on an audio track Note In general MIDI terminology MIDI tracks are instrument tracks in MIDI files In Adobe Audition however MIDI tracks contain MIDI clips which in turn contain instrument tracks For more information search for Working with MIDI in Help Using real time effects In Multitrack View you can apply real time effects to audio and ReWire tracks With these flexible effects you can adjust effects settings as a mix plays Because real time effects are nondestructive you can remove them from a track at any time You can also change the order of effects to produce a different sonic texture For example you can place Reverb prior to Sweeping Phaser or vice versa To change an effects mix over time use clip envelopes See Automating mixes with clip gt envelopes on page 188 Applying and removing real time effects You can apply real time effects by using either the Organizer window or the Effects Rack dialog box To remove or reorder these effects howe
95. Auditions Undo files This frees up disk space but ends your ability to revert to previous edits 48 CHAPTER 2 Setting up Adobe Audition Delete Clipboard Files On Exit Deletes Adobe Audition clipboard files when you exit In general leave this option enabled Usually after you finish with an Adobe Audition session these clipboard files are no longer needed and just take up valuable hard disk space Deselect this option to retain Adobe Audition s clipboard files on your hard drive after you exit the program Force Complete Flush Before Saving Disables the quick save feature in which Adobe Audition quickly saves files that contain only minor modifications If you enable this option and force a flush before saving Adobe Audition saves all files by making a backup copy of the file internally and then writing the entire file back This option is disabled by default When enabled it considerably increases the save time for large files It is intended for use only if you have trouble saving back to the same filename or you have a problem with Adobe Audition s quick save feature Colors options The Colors tab in the Settings dialog box provides options for changing Adobe Audition s color scheme Color Presets Lists color scheme presets that come with the program as well as those you ve created yourself To choose one select it from the list The currently selected color scheme is displayed in the Example window Save As Saves
96. Click the Stop button to stop recording To disable the Record button Right click the Record button and choose Disable Record Button Repeat to reenable the button Using timed record mode Use timed record mode to set start and stop times for recording You can specify a maximum recording time and you can set a time for recording to start and stop automatically To enable or disable timed record mode Choose File gt Timed Record Mode Alternatively right click the Record button and choose Timed Record Mode A check mark indicates that timed record mode is enabled To set start and stop times for recording 1 Enable timed record mode Click the Record button 2 3 Specify the maximum recording time ADOBE AUDITION 1 5 73 User Guide e Select No Time Limit to record until you click the Stop button or until disk space runs out e Select Recording Length to record for the duration you specify in the Recording Length box 4 Specify when to start recording e Select Right Away to begin recording as soon as you click OK e Select Time Date to begin recording at a time you specify for example to have Adobe Audition capture a radio broadcast at a certain time Enter the starting time and date in the appropriate text boxes and set the desired time and date options 5 Click OK Recording audio in Multitrack View In Multitrack View you can record audio on multiple tracks by overdubbing When you overdu
97. DI information into and out of your computer to or from external devices such as a MIDI Keyboard through the MIDI port of a sound card or other MIDI interface device 40 CHAPTER 2 Setting up Adobe Audition You cannot record audio directly from a MIDI input device into Adobe Audition In order to work with MIDI data in Adobe Audition you must save the MIDI data to a file using a MIDI sequencing application and then import the MIDI file into a session as a clip Once you have MIDI clips in a session you can map them to a specific MIDI output device and channel for playback See Working with MIDI tracks on page 185 If you have a MIDI input device connected to your system s MIDI interface you can use it to execute commands in Adobe Audition For example you can assign the Play command in Adobe Audition to the C4 note on your MIDI keyboard This is called MIDI triggering See Using shortcuts on page 12 You can also use your system s MIDI Out and In ports to send and receive SMPTE MTC timecode This process lets you synchronize Adobe Audition s Multitrack playback and recording with other hardware or software components that also support SMPTE MTC See Using sessions as SMPTE masters or slaves on page 166 Setting up for SMPTE synchronization You can use SMPTE Society of Motion Picture and Television Engineers timecode to synchronize Adobe Audition s transport controls with a MIDI sequencing application
98. DITION 1 5 User Guide 293 setting properties for input 38 setting properties for output 37 Dialogic ADPCM format 235 DiamondWare Digitized format 235 digital audio fundamentals of 270 Digital Theater Systems DTS 226 DirectX plug ins 32 using with surround sound 214 disk space freeing up 57 monitoring 22 Display Time Format command 70 display window navigating in 17 Distortion effect 155 dithering applying for playback 38 in response to lower bit depths 113 preferences 52 when saving 32 bit data to 16 bit files 53 docking windows 14 Dolby encoder 213 Doppler Shifter effect 142 downsampling audio during playback 38 quality level 53 DTMF signals generating 106 DTS 226 DTS encoder 213 DVD defined 280 DVI IMA ADPCM format 236 DWD format 235 Dynamic Delay effect 147 Dynamic EQ effect 129 Dynamic Peaks option 81 294 INDEX dynamic range displayed in Level Meters 81 Dynamics Processing effect 136 E echo adding to audio 147 defined 280 Echo Chamber effect 149 Echo effect 148 Edit Favorites command 253 Edit Original functionality embedding in files 51 207 Edit Tempo command 199 Edit View considerations for using 83 switching to 11 using 10 using effects in 139 editing audio See also specific editing tasks general considerations 83 in Multitrack View 170 undoing and redoing 22 effects See also specific effect names cancelling 54 general use of 28 graph controls 2
99. E AUDITION 1 5 259 User Guide Selecting tracks In CD Project View you can select one or more tracks by clicking in the track list You can also select all tracks by choosing the Select All Tracks command To select a track In CD Project View click the track in the track list To select multiple tracks Do one of the following e To select adjacent contiguous tracks click the first track in the desired range and then Shift click the last e To select nonadjacent incontiguous tracks Ctrl click them To select all tracks Choose Edit gt Select All Tracks Rearranging tracks In CD Project View you can move tracks up and down to change their play order on a CD To rearrange tracks 1 In CD Project View select the track you want to move 2 Click Move Up or Move Down Removing tracks In CD Project View you can remove a single track multiple tracks or all tracks To remove tracks In CD Project View do one of the following e Select one or more tracks and click Remove Alternatively choose Edit gt Remove Selected Tracks e To remove all tracks click Remove All Alternatively choose Edit gt Remove All Tracks 260 CHAPTER 13 Burning Audio CDs To close the source files when removing tracks 1 Select one or more tracks 2 Choose Edit gt Destroy Selected Tracks Remove and Close Editing the source audio for tracks The Edit Waveform command in CD Project View lets you edit t
100. Echo Chamber effect can simulate the ambiance of almost any room Settings let you specify a virtual room s size and surface characteristics along with the placement of virtual microphones The number of echoes is adjustable up to 500 000 Keep in mind that the more echoes you include the more time Adobe Audition needs to process the effect You can create a spatial stereo expansion effect by setting the virtual microphones farther apart than your actual stereo speakers For example if your stereo speakers are 6 feet apart try setting the left and right virtual microphones 20 or 30 feet apart Make sure that enough silence is at the end of the waveform for the echo to end If the echo is cut off abruptly before it fully decays undo the Echo effect add several seconds of silence by choosing Generate gt Silence and then reapply the Echo Chamber effect To use the Echo Chamber effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Echo Chamber 3 Set the desired options For more information search for Echo Chamber options in Help Using the Multitap Delay effect Multitap Delay can be thought of as a combination of the Delay Echo Filter and Reverb effects You can create up to 10 delay units each with its own delay feedback and filtering settings If one delay unit is placed inside another as viewed in the chart
101. HAPTER 5 Enhancing and Restoring Audio Scientific Filters graph for Butterworth filter Remove Subsonic Rumble preset A Group Delay milliseconds B Frequency Response dB To use the Scientific Filters effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Filters and double click Scientific Filters 3 Set the desired options For more information search for Scientific Filters options in Help Optimizing amplitude Amplitude effects let you optimize audio volume for specific mediums such as radio and CD produce detailed fade outs and more Using the Amplify Fade effect Edit View only The Amplify Fade effect produces either constant amplification changes such as fixed boosts or precise fades Though the Amplify Fade effect isn t available in Multitrack View you can use real time envelopes to accomplish the same task See Automating mixes with clip envelopes on page 188 ADOBE AUDITION 1 5 135 User Guide To use the Amplify Fade effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Amplitude and double click Amplify Fade 3 Set the desired options For more information search for Amplify Fade options in Help Using the Envelope effect Edit View only The Envelope effect lets you precisely control amplitude over time enabling you to combine a wide range of amplification effects
102. ITION 1 5 123 User Guide To zoom in ona graph In the vertical or horizontal ruler right click and drag the magnifying glass icon To navigate a magnified graph In the vertical or horizontal ruler left click and drag the hand icon f To zoom out on a magnified graph Right click in the vertical or horizontal ruler and choose one of the following from the pop up menu e Zoom Out to return to the previous magnification This option is available only in the Frequency Analysis window Zoom Out Full to zoom out completely Viewing waveform statistics In Edit View you can use the Waveform Statistics dialog box to evaluate a variety of infor mation about audio amplitude This dialog box contains two tabs General and Histogram both of which share an RMS Settings section The General tab displays numerical text boxes that indicate dynamic range identify clipped samples and note any DC offset The Histogram tab displays a graph that shows the relative prevalence of each amplitude The horizontal ruler measures amplitude in decibels and the vertical ruler measures preva lence using the RMS formula Use the Histogram tab to identify prevalent amplitudes and then compress limit or normalize them with an amplitude effect See Optimizing amplitude on page 134 124 CHAPTER 5 Enhancing and Restoring Audio Waveform Statistics General Cstosram Mc ie OS RMS Settings N C OdB FS Sine Wave Window Wi
103. Phaser effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Sweeping Phaser 3 Set the desired options Q For more information search for Sweeping Phaser options in Help ADOBE AUDITION 1 5 145 User Guide Using the Graphic Phase Shifter effect The Graphic Phase Shifter lets you adjust the phase of a waveform by adding control points to a graph To use the Graphic Phase Shifter effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Filters and double click Graphic Phase Shifter 3 Set the desired options For more information search for Graphic Phase Shifter options in Help Changing pitch The effects in Adobe Audition let you change the pitch raising or lowering a person s voice or musical notes For example the Pitch Correction effect can correct an out of tune vocalist or instrument and the Stretch effect can stretch or shrink audio without altering pitch or tempo Using the Pitch Bender effect Edit View only This effect varies the pitch of the source audio over time Use the graph to draw a tempo to create smooth tempo changes or other effects such as that of a record or a tape speeding up or slowing down To use the Pitch Bender effect 1 In Edit View select an audio range 2 In the Effects tab of the Organize
104. Properties window In the Track Properties window you can adjust several settings for the selected track including volume pan output device and bit depth Though you can quickly access most of these options in the track controls the Track Properties window offers channel and bit depth menus and visual sliders for volume and pan To use the Track Properties window 1 Select the track and then choose Window gt Track Properties 2 Set the desired options For more information search for Track Properties options in Help Setting track name volume and pan In the track controls you can name tracks to identify their contents for example Drums You can also specify volume and pan settings 4 To change track volume and pan over time use track envelopes See Automating mixes with clip envelopes on page 188 To name a track In the track controls type in the name text box hsa EAE Name text box in the track controls To change track volume or pan In the Volume V or Pan text box of the track controls drag to scroll through values x To change these settings with a slider right click the Volume or Pan text box ADOBE AUDITION 1 5 181 User Guide Soloing and muting tracks You can solo tracks to hear them separately from the rest of a mix Conversely you can mute tracks to silence them in a mix To solo a track In the track controls click the Solo button El To solo multi
105. See Setting permanent loop properties in Edit View on page 200 Transpose Pitch Transposes the pitch of the looped clip by the specified number of half steps Positive numbers raise the pitch and negative numbers lower it Adjust All Loop enabled Clips That Use This Wave Globally changes the settings for all clips that reference the same waveform For example if you insert the same loop file into Multitrack View four times and you then adjust the loop properties on one of its clips the other three instances of the loop in the session are adjusted too 204 CHAPTER 8 Using Loops Setting the tempo time signature and key for sessions The Session Properties window lets you specify the tempo time signature and key for loops in a session All loop enabled clips automatically adjust to match new settings regular clips are unaffected To preview loop files at the tempo and key of a session select either the Loop option in UE the Insert Audio dialog box or the Follow Session option in the Files tab of the Organizer window See Inserting audio files into multitrack sessions on page 63 and Previewing audio by using the Organizer window on page 77 To set the tempo time signature and key for a session 1 In Multitrack View choose Window gt Session Properties if the window isn t visible 2 Set any of the following options Tempo Specifies the tempo of the session measured in beats per minute Beats Bar Spec
106. TER 13 Burning Audio CDs To set CD options and write a CD 1 Insert a blank writable CD into the CD burning device 2 In CD Project View click Write CD or choose File gt Write CD 3 Choose the device you want to use to write the CD Click Device Properties to set device properties as described in the previous procedure 4 Choose a setting from the Write Mode pop up menu e Write CD writes the CD without testing for buffer underruns e Test Write Only tests if the CD can be written without the occurrence of buffer underruns No audio is written to the CD e Test and Write CD tests for buffer underruns and then proceeds with the actual write process if the test is successful 5 Select Eject Disc When Complete to eject the CD tray upon completion of the write process 6 Select Write CD Text if you want to write text including the track title and artist for each track to the CD Type the desired information in the text boxes for Title Artist and UPC EAN Note The UPC EAN is a 13 digit code that is used to uniquely identify merchandise and communicate product information between a vendor and retailer 7 Click Write CD The Track and Disk bars show you the progress of the write process 263 Appendix A Keyboard Shortcuts eyboard shortcuts help you work more efficiently About keyboard shortcuts The default keyboard shortcuts address most audio production needs but you can also create custom shortcuts tailored to y
107. User Guide Expanding works by subtracting or adding differing amounts of right and left channel signals so sounds occurring on the right or left are cut or boosted You can alter both of these elements dynamically over time by using the respective graph To use the Pan Expand effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Amplitude and double click Pan Expand 3 Set the desired options For more information search for Pan Expand options in Help Using the Stereo Field Rotate effect This effect lets you rotate the stereo field of an audio file The stereo field denotes where in space instruments or other sources are placed within the left and right images of a stereo waveform By manipulating the Rotation graph you can affect how the instruments seem to move over time To use the Stereo Field Rotate effect 1 Select a stereo range 2 In the Effects tab of the Organizer window expand Amplitude and double click Stereo Field Rotate 3 Set the desired options Q For more information search for Stereo Field Rotate options in Help Using the Center Channel Extractor effect The Center Channel Fxtractor effect keeps or removes frequencies that are common to both the left and right channels in other words sounds that are panned center Often voice bass and lead instruments are recorded this way As a result you can use this effect t
108. a different file Alternatively click the Save As button in the File toolbar e Choose File gt Save Copy As to save an identical copy of the file while leaving the original file active e Choose File gt Save Selection to save the currently selected audio to a new file Alterna tively click the Save Selection button in the File toolbar This command is useful for saving small segments of a larger file For example you can use it to break up a long recording into smaller more manageable tracks e Choose File gt Save All to save all open files 2 Choose a location for the file type a filename and choose a file format 228 CHAPTER 11 Saving Exporting and Closing Files 3 Depending on the format you choose additional options might be available To view format specific options click Options For more information on format specific options see Choosing an audio file format on page 231 4 Select Save Extra Non Audio Information to save header fields containing file infor mation and cue marks in the file In addition if you save a wav file this option stores the pathname to the original session file effectively linking related session and mixdown files for Adobe Premiere and Adobe After Effects users For more information see Working with Adobe Premiere Pro and After Effects on page 207 If you plan to burn the file to CD by using another program you should deselect this y option Some CD recording a
109. a in Multitrack View the Mix Gauge indicates the progress of background mixing Whenever you edit a session the Mix Gauge becomes blank and then gradually fills as the mix is reprocessed turning brighter in color when background mixing is complete You don t need to wait for the Mix Gauge to finish before playing a session Mono A monophonic signal which contains only one sound source N Noise gate A special type of expander that reduces or eliminates noise by greatly lowering signal levels that fall below a specified threshold Noise gates are often configured to totally eliminate background noise during musical pauses You can also use these gates to silence pauses in speech Noise shaping A technique that shifts the frequency of dithering noise to minimize its audibility Nondestructive editing Nondestructive edits don t alter a sound file on disk in any way For example nondestructive volume changes do not alter the amplitude of a waveform but instead simply instruct an audio application to play the waveform at higher volume In Adobe Audition Multitrack View is a nondestructive editing environment 284 Glossary Normalize To adjust the highest peak of a waveform to a certain percentage relative to the digital maximum 0 dBFS thereby raising or lowering all other peaks accordingly Typically audio is normalized to 100 to achieve maximum volume but Adobe Audition lets you normalize to any percentage Nyquist Frequency
110. age 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 page Move left side of the selection inward during playback Move right side of the selection inward during playback Keys for copying waveforms Ctrl Insert Copy the waveform or selection to the clipboard Shift Insert Paste the clipboard s contents into the waveform display or ses sion display Ctrl M Insert the waveform into the session display Ctrl Shift N Paste the contents of the active clipboard to a new waveform Keys for editing clips ADOBE AUDITION 1 5 User Guide Ctrl Up Arrow Select the previous clip in the currently selected track Ctrl Down Arrow Select the next clip in the currently selected track Alt Left Arrow Nudge the selected clip to the left Alt Right Arrow Nudge the selected clip to the right Ctrl Shift Up Arrow Clip color next Ctrl Shift Down Arrow Clip color previous Keys for repeating commands F2 Repeat the last command its dialog box appears F3 Repeat the last command no dialog box appears Keys for using markers F8 Add a cue or cue range Shift F8 Add a CD track marker Ctril F8 Add a CD index marker 1 Mark Intro Time 2 Mark Sec Tone 265 266 Keyboard Shortcuts Keys for scrolli
111. ake sure not to specify any command script or tool listed on the Function tab Script tab or Tool tab Press New Shortcut Key Lets you type a key or combination of keys to use as the keyboard shortcut to a favorite Adobe Audition accepts most single key shortcuts the most notable exceptions are the Print Screen Scroll Lock Number Lock Caps Lock Tab Function and Enter keys and it also accepts the Ctrl Shift and Alt keys or any combination of the three as the first in a combination of keys Note If the keyboard shortcut you type is already used by Adobe Audition a dialog box appears giving you the option to overwrite the current shortcut Clear Clears text from the Press New Shortcut Key text box Function tab Lets you specify the following options e Audition Effect lets you choose any command listed in the Effects and Generate menus After you choose a command the settings last used for it appear e Edit Settings displays the window that corresponds to the command you chose You can then specify the settings to be used when you choose the favorite from the Favorites menu e Copy From Last applies the settings used the last time the particular command was completedsuccessfully e Use Current Settings applies the settings currently specified for the particular command Deselect this option to edit the settings ADOBE AUDITION 1 5 255 User Guide e Show Dialog causes the dialog box for the particular command to display
112. all around To specify the distance from center of the left and right noise sources enter a delay value in microseconds 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 generates noise by using two unique noise sources one for each channel The left channel s noise is completely independent of the right channel s noise e Mono generates noise by using a single noise source with the left and right channels set equally to that source e Inverse generates noise by using a single noise source similar to the Mono option However the left channel s noise is exactly inverse of the right channel s noise When you listen to the result with stereo headphones your mind perceives sound coming from within your head instead of from somewhere externally Intensity Specifies the intensity of the noise on a scale of 2 to 40 At higher intensities the noise becomes more erratic and sounds harsher and louder Duration Determines the number of seconds of noise that Adobe Audition generates 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 start and end at the midpoint Then copy and loop choose Edit gt Mix Paste as many times as needed Generating tones The Tones command lets
113. ally during playback In this window the horizontal axis represents frequency measured in Hz while the vertical axis represents amplitude measured in decibels To zoom in on a particular area of the Frequency Analysis graph use the horizontal and gt vertical rulers See Zooming graphs for frequency and phase analysis on page 122 Frequency Analysis Fd Linear view Cc z ooo 15000 Frequency Analysis window displaying Advanced options A Musical note B Vertical ruler C Horizontal ruler D Left status area E Display options menu F Right status area G FFT type menu To analyze frequency range 1 In Edit View select or play a range of the waveform 2 Choose Window gt Frequency Analysis and set options as desired Linear View Sets the graph display to a linear horizontal frequency scale when selected or a logarithmic scale when deselected User Guide 120 CHAPTER 5 Enhancing and Restoring Audio Hold buttons Take up to four frequency snapshots as a waveform is playing The frequency outline which is rendered in the same color as the button clicked is frozen on the graph and overlaid on other frequency outlines Up to four frozen frequency outlines may be shown at once To clear a frozen frequency outline click its corresponding Hold button again Status areas Display frequency and amplitude information directly underneath the graph The left status area displays the highest frequency of the entire wavef
114. an unpleasant burst of noise at the beginning of each track 6 Click Save Exporting mixes to video If a session includes an avi video file you can mix down the session and make it an audio track for the video Note While Adobe Audition can open other types of video files to get at their audio tracks the ability to save back the audio track works only with avi files To export a mix to a video file 1 Choose File gt Export gt Video 2 Choose a location for the file and type a filename 3 To assign a codec for compressing the audio in the file click Options Choose a codec from the pop up menu and click OK ADOBE AUDITION 1 5 231 User Guide 4 Select Save Extra Non Audio Information to save header fields containing file infor mation and cue marks in the file 5 Click Save Closing files Adobe Audition provides several commands for closing files To close the current audio file in Edit View Choose File gt Close To close a session file in Multitrack View Do one of the following e Choose File gt Close Session to close the current session file but leave related media files open e Choose File Close Session And Its Media to close the current session file and all related media files To close all files not related to the current session Choose File gt Close Only Non Session Media Files To close all open files Choose File gt Close All Choosing an audio file format Adobe Audition l
115. and you can set up conditions for how files are renamed by using question marks and asterisks g e A question mark signifies that a character doesn t change e An asterisk denotes the original filename or extension Here are some examples of how filenames can be renamed Original Name Output Filename Resulting Filename Template Name 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 Working with scripts Adobe Audition lets you create three types of scripts depending on the software s state when you record the script 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 currently open waveform These scripts operate on an entire waveform They require a waveform to be open but with no selection made Actions begin at the current time indicator position in the waveform and they affect any data present at that point e Scripts that work on a selection These scripts require a selection to be made first Actions in the script apply only to the selection 250 CHAPTER 12 Scripting and Batch Processing A set of scripts can be grouped together in a script collection For example a script collection called ambiance might contain scripts for adding echo reverb and delay and one calle
116. arallel 188 CHAPTER 7 Mixing Multitrack Sessions e To change the ratio of dry to wet audio that an effect receives enter percentages in the Src and Prv text boxes Src represents the dry sound Prv represents the output of the previous effect To bypass all real time effects for a track right click the FX button in the track controls and choose Bypass Locking tracks with real time effects After you apply real time effects to a track and edit them you can lock the track to save processing power for other mixing tasks an important consideration for complex mixes Adobe Audition stores locked tracks in the background mix removing them from the CPU load If a track is locked you can t edit effects clips or envelopes it contains You can quickly unlock the track however if you need to change it Though locking tracks takes a small amount of processing time unlocking tracks is instantaneous To lock or unlock a track that has real time effects In the track controls click Lock Automating mixes with clip envelopes With clip envelopes you can automate volume pan and effects settings over time For example you can automatically increase clip volume during a critical musical passage and later reduce the volume in a gradual fade out For tracks with real time effects you can also automatically change the ratio of dry to wet sound Envelopes operate nondestructively so they don t change the original audio fi
117. arch for Doppler Shifter options in Help ADOBE AUDITION 1 5 143 User Guide Using chorus flanger and phaser effects These effects can thicken sound or make it outrageous They range from the Chorus effect s ability to make a single instrument or vocalist sound like a group playing or singing in unison to the wilder sounds of the Flanger effect and the phaser effects Although you can apply them in stereo for the most dimensional results you can use them with mono sound as well Using the Chorus effect The Chorus effect adds richness as if several voices or instruments are played at once It s a great way to add a degree of presence to a track You can use it to give a stereo effect to a mono sample where the left and right channels are identical or to add harmony or thickness to a vocal track You can also use it to create some truly out of this world special effects Adobe Audition uses a direct simulation method of achieving a chorus effect meaning that each voice or layer is made to sound distinct from the original by slightly varying the timing intonation and vibrato The Feedback setting lets you add extra detail to the result You get better results if you convert mono files to stereo before applying the Chorus effect To use the Chorus effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Chorus
118. ards record audio with a slight DC offset meaning that the center of the waveform being recorded is a little above or below the center of the waveform display This offset can dramatically throw off the level meters since the offset amount could be inter preted as a constant sound at that volume You should have this option enabled when recording To show or hide valley indicators Right click the Level Meters and choose Show Valleys 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 spread far apart the dynamic range is high To change the decibel range of the Level Meters Right click the Level Meters and choose a Range option To change the mode of peak indicators Right click the Level Meters and choose one of the following options e Dynamic Peaks causes the yellow peak level indicators to reset to a new peak level after 1 5 seconds letting you easily see the peak amplitude right now As the audio gets quieter the peak indicators start backing off e Static Peaks keeps the peak levels from being reset letting 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 that is by clicking the clip indicator at the right 82 CHAPTER 3 Importing Recording and Playing Audio Select Static P
119. asks require that you select a precise range of a waveform When selecting a range you ll probably want to zoom in to view the waveform in more detail See Zooming on page 17 Adobe Audition provides a variety of ways to select audio data precisely such as adjusting selections to zero crossings finding beats and using snapping See Selecting audio data on page 87 As you edit a waveform keep in mind that you can undo your changes until you save the file See Undoing and redoing changes on page 22 Creating new audio files The File gt New command lets you create an empty audio file Doing so is useful when you want to paste audio into an empty file before you edit it or when you want to record audio into a new file You can quickly create a new file from a selection by choosing Edit gt Copy to New 3 See Copying audio data on page 92 To create a new audio file 1 Choose File gt New Alternatively click the New File button B in the toolbar 2 Select a sample rate in the list or type a custom sample rate in the text box The sample rate determines how many frequencies can be encoded in the audio signal Higher sampling rates mean a wider bandwidth For more information see About sample rates on page 110 3 Select a number of channels e Mono creates a waveform with just one channel of audio information This setting is good for voice only recordings e Stereo creates a waveform with se
120. at 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 56 CHAPTER 2 Setting up Adobe Audition Note On sound cards that support sample accurate devices that is synchronized device starting and all devices keyed off of the same clock you don t need to select this option This option allows for some measure of near sample accurate synchronization across different sound cards or a situation where a single sound card uses different clocks for playback and recording This situation is common for consumer and other low end sound cards Delete Old Takes After Merging Automatically deletes any unused takes created during a punch in when you select a take If you don t select this option unused takes remain available to the Session in the Insert menu and occupy hard drive space Crossfade Time Determines the amount of time in milliseconds over which crossfading occurs when a take created using punch in is merged back into the surrounding waveform Mixdowns Determines the bit resolution that is used when performing a mixdown Regardless of the session format 16 bit or 32 bit you can generate mixdowns at either 16 bit or 32 bit quality with this option The default is 16 bit Click Dithering Option to specify how to dither the 16 bit mixdown Track Record Specifies how waveforms are created when recording directly into the Multi track V
121. ate see Creating new sessions on page 162 To not use a default session Choose File gt Default Session gt Clear Default Session Inserting or deleting time in a session You can use the Insert Delete Time command to insert silence into a session or to delete a selected range from the session 164 CHAPTER 7 Mixing Multitrack Sessions To insert or delete time in a session 1 Place the current time indicator at the desired insertion point or select the range you want to delete 2 Choose Edit gt Insert Delete Time and set the following options Insert Shifts all material clips or parts of clips to the right of the current time indicator by the amount you specify in the text box Clips are split if necessary and the specified amount of silence is inserted Delete Selected Time Removes the highlighted area and shifts all clips to the right of the selected region You must unlock any locked tracks to insert or delete time in a session To relock such tracks click the Lock button in the track controls Selecting ranges in the track display To select ranges in Multitrack View you can use either the Time Selection tool I or the Hybrid tool Both tools let you select ranges and clips but the Hybrid tool also lets you move clips If you prefer to select ranges separately from moving clips use the Time Selection and the Move Copy Clip tools rather than the Hybrid tool See Working with clips on page 1
122. ator options in Help Using the Click Pop Eliminator effect Edit View only The Click Pop Eliminator effect detects and removes clicks and pops Like the Auto Click Pop Eliminator this effect is ideal if you want to clean up the sound of vinyl recordings before transferring them to CD or another digital medium The Click Pop Eliminator however provides a much wider range of controls letting you highly customize settings for unique audio content For this effect the most important parameters are the Detect and Reject thresholds To enable the latter you must select Second Level Verification For Detect thresholds try settings ranging from 10 for a lot of correction to 50 for very little correction For Reject thresholds try settings ranging from 5 to 40 Run Size is the second most important parameter A setting of about 25 is best for high quality work For the highest quality apply the Click Pop Eliminator in three successive passes where each pass is faster than the previous one 126 CHAPTER 5 Enhancing and Restoring Audio Click Pop detection graph A Level of detected clicks and pops B Level of rejected clicks and pops To visually identify clicks zoom in and use Spectral View with a resolution of 256 bands x and a window width of 40 You can access these settings in the Display tab of the Settings dialog box Most clicks appear as bright vertical bars that extend from the top to the bottom of the waveform d
123. audio file 1 In Edit View choose File gt Open Alternatively click the Open button in the toolbar or the Import button in the Files tab of the Organizer window 2 Locate and select the file you want to open To select multiple adjacent files click the first file and Shift click the last To select multiple nonadjacent files Ctrl click them Note If you don t see the name of the file you want choose All Supported Media from the Files Of Type menu If you still don t see the file it might be stored in a format that Adobe Audition can t read 3 Click Open 61 62 CHAPTER 3 Importing Recording and Playing Audio To preview the contents of a selected file Do any of the following e Click Play to listen to the file once e Select Loop to repeat the file until you click Stop e Click Auto Play to play files automatically when you select them To append an audio file to the current waveform 1 In Edit View choose File gt Open Append If the new audio has a different sample rate resolution or channel type than the current waveform Adobe Audition converts it to match the current waveform For the best results append files that have the same sample rate as the waveform 2 Locate and select the file you want to open To select multiple adjacent files click the first file and then Shift click the last To select multiple nonadjacent files Ctrl click them 3 Click Open To convert audio to a
124. b tracks you can hear previously recorded tracks and play along with them to create sophisticated layered compositions Each recording becomes a new audio clip on a track If you are unsatisfied with a section of a recorded clip you can select that section and punch in a new recording leaving the remainder of the original clip intact For particularly important or difficult sections you can punch in multiple takes different versions and then select the take with the best performance R 7 TalkBadiferb Gut ay Pano EE E Pano A take created with the Punch In command DrimSpace 74 CHAPTER 3 Importing Recording and Playing Audio To record a new clip in a track 1 Inthe track controls area for the track click the In 1 button select the desired input of your sound card and then click OK 2 Click the Record enable button fi for the track 3 To simultaneously record on multiple tracks repeat steps 1 2 for each track 4 Position the current time indicator at the desired starting point for recording or select the range where you want to record the clip 5 Click the Record button to begin recording 6 Click the Stop button E to stop recording To record in a loop 1 Specify the input source track and starting point or range for recording as described in the previous procedure 2 Right click the Record button and choose one of the following options e Loop While Recording View or S
125. be Audition 1 5 Audition exe path to file For example type the following to play the TalkBackVerb loop file c Program Files Adobe Audition 1 5 Audition exe c Program Files Adobe Audition 1 5 Audition Theme TalkBackVerb cel Stopping pausing and adjusting the playback cursor The transport controls provide buttons for stop recording and playback pausing recording and playback and adjusting the playback cursor To stop playback without using the transport controls press the spacebar Press the spacebar again to start playback To stop playing or recording audio Click the Stop button m in the Transport Controls window ADOBE AUDITION 1 5 79 User Guide To pause playing or recording audio Click the Pause button 11 in the Transport Controls window Click the Pause button again to resume playback or recording To adjust the playback cursor Click one of the following buttons in the Transport Controls window e The Go to Beginning button 14 places the playback cursor at the beginning of the waveform or session The Rewind button 44 shuttles the playback cursor backward in time This function supports scrubbing meaning that on some sound cards the audio file plays back at a lower volume as the playback cursor shuttles over the waveform or session e Right click the Rewind button to set the rate at which the cursor moves e The Fast Forward button gt gt shuttles the playback cursor forward in time This
126. but some sound cards support resolutions higher than 16 bit Adobe Audition supports up to 32 bit resolution For the best audio quality remain at the 32 bit level while transforming audio in Adobe Audition and then convert to a lower resolution for output Brown noise Brown noise has a spectral frequency of 1 f 2 so it emphasizes low frequency components resulting in thunder and waterfall like sounds Brown noise follows a Brownian motion curve in which each sample in a waveform contains a mixture of predefined and random frequency components Bus In hardware mixers a channel that lets you combine several other channels and output them together In Adobe Audition s Multitrack View you can similarly use software buses to combine several tracks Burn To write to a CD R or CD RW disc C CD R A recordable compact disc that you can write to only once These discs typically hold 650 MB of data which equals 74 minutes of stereo audio CD R sometimes refers to the computer drives that burn CD R discs CD RW A rewritable compact disc These discs typically hold 650 MB of data which equals 74 minutes of stereo audio Unlike a CD R however a CD RW disc can be erased and written to again Chorus A delay effect that simulates several voices by adding multiple short delays with a medium amount of depth and a small amount of feedback Click track An audio track comprised of clicks that occur on the beat like a metronome Click tracks ar
127. ck consider locking the track afterwards so that it doesn t slow down your editing process To use the Full Reverb effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Full Reverb 3 Click the General Reverb tab the Early Reflections tab or the Coloration tab and specify the options you want on each Note that when any of the reverb characteristics are modified a new impulse is built to simulate the environment you specify An impulse is the data by which every other sample in a waveform is multiplied The impulse can be several megabytes in size requiring more CPU processing power so you might have to wait a few seconds after clicking Preview for the reverb to be built The results however are much more natural sounding and easier to tailor Once built the preview generally runs in real time and subsequent previews don t require rebuilding the impulse nor does adjusting any of the Mixing options or selecting Include Direct 4 Specify any Mixing options you want For more information search for General Reverb tab options Early Reflections tab options and Coloration tab options in Help Using the QuickVerb effect Like Full Reverb and Reverb the QuickVerb effect adds reverberation to audio to simulate a different acoustic space It is faster to use however because it isn t convolution bas
128. ck View are saved with the session and aren t permanent In addition session based loop properties in Multitrack View override Edit View loop properties See Setting impermanent loop properties in Multitrack View on page 202 for more information To set loop properties in Edit View 1 Choose View gt Wave Properties 2 Click the Loop Info tab 3 Set any of the following options click OK and then save the file Loop Tells Adobe Audition that the file is a loop If the file is inserted into a Multitrack session looping is enabled automatically for that audio clip One Shot Indicates that the file plays once rather than repeats like a loop Number Of Beats Specifies the number of beats in the loop Adobe Audition attempts to detect and specify the number of beats for you but you can adjust the value if necessary ADOBE AUDITION 1 5 Tempo Specifies the number of beats per minute in the loop Adobe Audition calculates this value automatically based on Number Of Beats Don t worry if the value isn t a whole number for example 80 4 instead of 80 after you loop the file Adobe Audition can stretch it to whatever tempo you want Key Specifies the loop s key so that if you create a session and want to adjust the key of all audio clips globally Adobe Audition has a reference for each file If a loop file is a drum track choose Non Voiced This option is especially important if you plan to change the key of multiple loops in
129. collection scp file you want and double click it 4 Select the script you want to run from the list 5 Set the following options as desired and then click Run Script Pause At Dialogs Stops the script at each dialog box used in the script so you can modify the settings at those points Clicking Cancel in any dialog box stops the script and clicking OK continues it Alert When Complete Displays a notice when the script is finished Execute Relative To Cursor When running a Works On Current Wave type of script performs all script operations relative to the original position of the cursor as opposed to at the current position 252 CHAPTER 12 Scripting and Batch Processing For example if a script was recorded with the current time indicator at 0 10 00 selecting this option applies the script at the current cursor position plus 10 seconds If the current cursor position is at 0 05 00 the script would start at 0 15 00 If you re likely to run a script at the current cursor position record the script with the cursor at a 0 00 00 position and select this option when you run it Script Type Indicates the type of script selected in the scripts list Script Starts From Scratch works with all files closed Script Works On Current Wave works on an entire waveform and Script Works On Highlighted Section works on the selected part of a waveform Editing scripts The Edit Script File option in the Scripts dialog box lets you modi
130. cts you need to verify that Adobe Audition is scanning the directories where the effects are installed then you must refresh the effects list After that using plug in effects is as easy as using any other Adobe Audition effect Just select an area to process and choose the effect from the Effects gt DirectX or Effects gt VST menu or from the Effects tab of the Organizer Window Of course you ll need to consult the documentation provided by the plug in manufacturer for any help with its features Note If Adobe Premiere Pro and Adobe Audition are installed on the same computer Adobe Audition automatically displays the VST plug ins that come with Adobe Premiere Pro To enable DirectX effects Do one of the following e In Edit View choose Effects gt Enable DirectX Effects e In Multitrack View click the FX button in the track controls In the Track Effects Rack dialog box click Enable DirectX Effects and then click OK This causes Adobe Audition to scan your system for DirectX plug ins After the plug ins are activated the Enable DirectX Effects option is removed from the menu and dialog box ADOBE AUDITION 1 5 33 User Guide To set up directories for VST effects 1 In Edit View choose Effects gt Add Remove VST Directory The Add Remove VST Directory lists the directories that Adobe Audition will scan for VST plug ins when you choose Effects gt Refresh Effects List 2 Do either of the following e To add a new
131. cuts audio and MIDI clips into parts When a clip is split each part becomes a new clip that can be indepen dently moved or deleted Splitting is nondestructive so you can rejoin split clips with the Merge Rejoin Split command Selecting a range and splitting one clip into three independent clips To split a clip 1 In the toolbar click the Time Selection tool I or the Hybrid tool 4s 2 Do either of the following To split the clip in two click where you want the split to occur To split the clip into three drag across it to specify two split points one at the beginning of the selection one at the end 3 In the toolbar click the Split Clip button 4 ADOBE AUDITION 1 5 173 User Guide To rejoin split clips 1 In the toolbar click the Move Copy Clip tool or the Hybrid tool 2 Position the clips beside each other on the same track 3 Right click one of the clips and choose Merge Rejoin Split Copying audio and MIDI clips You can create two types of copied audio clips reference copies that share source files and unique copies that have independent source files You can create only reference copies of MIDI clips For audio clips the type of copy you choose depends upon the amount of available disk space and the nature of destructive editing you plan to perform in Edit View Reference copies consume no additional disk space letting you simultaneously edit all instances by editing the original source file Fo
132. d batch utilities might contain scripts for batch processing See Batch processing files on page 247 Creating scripts Use the Scripts dialog box to create your scripts To create a script 1 Set up Adobe Audition for the script you want to create For example open a waveform typical of the ones you ll apply the script to or if you want a script that starts from scratch close all open waveforms 2 In Edit View choose Options gt Scripts The Script Collections area displays the name of the currently opened script collection If the collection hasn t been named the name New Collection appears 3 Do one of the following e To open an existing script collection click Open New Collection navigate to the collection scp file and then double click it e To create a new script collection click Open New Collection Navigate to the folder in which you want to save the new collection scp file Then type a name for it in the File Name text box and click Open e To rename a script collection click Edit Script File The collection scp file opens in Windows Notepad Locate the Collection entry on the first line and type a new name Then save the file Note The name in the Script Collections area doesn t reflect the change until you reopen the script 4 Type a name for your script in the Title text box 5 Click Record The Scripts dialog box closes 6 Perform the actions that you want to be pa
133. d If the Windows clipboard contains no audio data this option is disabled From File Pastes audio data from a file Click Select File to browse for the file Loop Paste Pastes audio data the specified number of times If the audio is longer than the current selection the current selection is automatically lengthened accordingly Deleting audio data Adobe Audition provides two methods for deleting audio The Delete Selection command lets you remove a range from a waveform whereas the Trim command lets you remove unwanted audio from both sides of the selected audio Note Deleted data doesn t go to the clipboard and can be retrieved only by choosing Edit gt Undo or File gt Revert To Saved but only if you haven t saved the file since deleting the data To delete audio data 1 In the waveform display select the audio data you want to delete 2 Choose Edit gt Delete Selection Alternatively click the Delete button lt in the toolbar To trim audio data 1 In the waveform display select the audio data you want to keep 2 Choose Edit gt Trim Alternatively click the Trim button Hl in the toolbar 96 CHAPTER 4 Editing Audio Working with cues Cues are locations in a waveform that you define Using cues makes it easy to navigate within a waveform in order to make a selection perform edits or play back audio About cues In Adobe Audition a cue can be either a point or a range A point refers to an exact position
134. d instead the louder portions of audio are limited to prevent clipping In general avoid values higher than 5 to prevent audible artifacts from occurring in the louder portions of audio Reset Clears all of the normalization statistics for the files in the list Double click a file in this list to see more detailed 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 246 CHAPTER 12 Scripting and Batch Processing Setting options on the Normalize tab Use the following options in the Normalize tab to specify how you want to normalize the waveforms Normalization Specifies whether to normalize to an average level or a specific level you enter in decibels Note The Normalization option doesn t use percentages unlike the Normalize effect because it is RMS based rather than peak based Use Equal Loudness Contour Applies an equal loudness contour where the middle frequencies are most important Because the human ear is much more sensitive to frequencies between 2 kHz and 4 kHz two different pieces of audio with the same RMS amplitude but with different frequencies will have different apparent volumes Select this option to ensure that audio has the same perceived loudness regardless of what frequencies are present Out of Band Peaks Determines how Adobe Audition handles
135. d Data normalizes the data between 1 0 and 1 0 Audition Loop cel This format produces compressed Adobe Audition loop files which are essentially mp3 files with a cel extension Each cel file has a header that contains loop information such as the number of beats tempo key and stretch method 4 You can also save loops in uncompressed formats such as Windows PCM ADOBE AUDITION 1 5 235 User Guide The cel format avoids a potential problem with mp3 files During encoding a very small amount of silence is added to the beginning end or both of an mp3 file The silence is very short often only a few samples long When you work with a loop though it s enough to throw off the entire loop As it saves a cel file Adobe Audition calculates how much silence will be added to the mp3 file and writes this information into the cel header Then when Adobe Audition opens a cel file it reads this information and automatically removes the silence from the file so that it loops smoothly The options for Audition Loop format are identical to those for mp3PRO For more information see mp3PRO mp3 on page 237 Creative Sound Blaster voc This format is for Sound Blaster and Sound Blaster Pro voice files Adobe Audition supports both the older and newer formats The older format supports only 8 bit audio mono to 44 1 kHz and stereo to 22 kHz The newer format supports both 8 and 16 bit audio Files in thi
136. d natural sound Alternatively initial early reflection delays can be used to give a sense of room size depending upon the initial delay times The difference between the Reverb effect and the Full Reverb effects is that Full Reverb is newer and it provides more options and better audio rendering However you may prefer the older Reverb effect if that s what you re used to using Note Because the Reverb effect can take longer to process than the other reverb effects it may not be the best choice for using in real time in Multitrack View To simulate rooms that have both echoes and reverb use the Echo effect first to establish VE the size of the room sound and then use the Reverb effect to make the sound more natural This technique 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 ADOBE AUDITION 1 5 153 User Guide To use the Reverb effect 1 Select an audio range Edit View or track Multitrack View 2 Inthe Effects tab of the Organizer window expand Delay Effects and double click Reverb 3 Set the desired options For more information search for Reverb options in Help Using the Studio Reverb effect Like Full Reverb QuickVerb and Reverb the Studio Reverb effect a
137. dded to the bus Sliders also let you adjust the volume of all effects in the bus as well as the desired Dry Out level e Click Serial to connect the effects on the bus in sequence with the output of one effect connected to the input of the next e Click Parallel to connect the effects on the bus separately mixing only their outputs together e Click Rack Setup to open the Properties dialog box for the bus Pan controls Adjust the balance of each track To use the control that looks like an asterisk drag it to one of three positions hard left zero pan and hard right The Pan text box provides a more precise way of adjusting pan To change a pan value drag across the text box to the left or right Mute and Solo buttons Let you mute or solo a bus Click the Mute button for as many buses as you like to turn off their output Click the Solo button to solo the bus To solo multiple buses hold down the Ctrl key as you click the Solo buttons Bus faders Adjusts the relative volume of the bus in the mix Move the slider up or click the triangle above it to increase the volume move it down or click the triangle below it to reduce volume Alternatively enter a value in decibels in the text box above the slider Scroll bar Lets you scroll through buses if all of them don t fit in the Bus Mixer tab 196 CHAPTER 7 Mixing Multitrack Sessions Mixing down ReWire tracks and specific audio clips You can mix down ReWire tracks and s
138. dds reverberation to audio to simulate a different acoustic space It is faster to use than Full Reverb and Reverb however because it isn t convolution based like those effects both of which increase the processing load on your system As a result you can make real time changes more quickly and effectively in Multitrack View without needing to lock effects to a track Although QuickVerb is not convolution based and is most similar to Studio Reverb the latter works slightly faster has better sound quality and has more options for better control and tonal variation To use the Studio Reverb effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Studio Reverb 3 Set the desired options For more information search for Studio Reverb options in Help Creating special effects Effects commands in the Special menu let you introduce processing effects that are both innovative and wild You can use the Convolution effect to use one waveform to modify another the Distortion effect to make a waveform sound as if it s coming from an overdriven amplifier or speaker and the Music effect to create notes and chords sampled from a waveform 154 CHAPTER 6 Applying Stereo Pitch and Delay Effects Using the Convolution effect The Convolution effect multiplies every sample in one wave the impulse by the samples contained i
139. different sample rate resolution or channel type during import 1 In Edit View choose File gt Open As 2 Locate and select the file you want to open and click Open 3 Set the desired options in the Open File s As dialog box and click OK Sample Rate Determines how many frequencies can be encoded in the audio signal Higher sampling rates mean wider bandwidth For more information see About sample rates on page 110 Channels Determines if the waveform is mono or stereo Select Mono to create a waveform with just one channel of audio information This option works well for a voice only recording Select Stereo to create a two channel waveform with separate right and left channels This option is usually best for a music recording Because they contain twice as much data stereo waveforms consume twice the storage space of mono waveforms Resolution Determines the number of unique amplitude levels Adobe Audition can use to represent a sound The 32 bit level is best while you work in Adobe Audition and you convert down for output if necessary ADOBE AUDITION 1 5 63 User Guide Note Older sound cards might not be able to play 32 bit files properly To check the capabil ities of your sound card choose Options gt Device Properties If your sound card doesn t support 32 bit files you can convert the files to a lower bit rate such as 16 bit for playback Opening session files in Multitrack View Session files contain no
140. dio file A cue can be either a point that specifies a time position or a range that specifies a selection In Adobe Audition you can define and save an unlimited number of cues for later recall or for assembly in the Play List window See Play List on page 285 D DAC Digital to Analog Converter The hardware responsible for converting a digital audio or video signal into an analog signal that you can play through amplifiers and speakers 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 often described as DAT quality ADOBE AUDITION 1 5 279 DC offset Some sound cards record with a slight DC offset in which direct current is introduced into the signal causing the center of the waveform to be offset from the zero point the center line in the waveform display DC offset can cause a click or pop at the beginning and end of a file To compensate for DC Offset use the DC Bias Adjust setting provided by the Amplify command Decibel dB In audio the decibel dB is a logarithmic unit of measurement used for amplitude dBFS Decibels below full scale in digital audio 0 dBFS is the maximum possible amplitude value for example 256 for 8 bit audio A given dBFS value does not directly correspond to the original sound pressure level measured in acoustic dB Delay A time shifted signal that you can m
141. directory click Add locate or create the folder you want Adobe Audition to scan for VST plug ins and click OK e To remove a directory select the directory and click Remove To refresh the effects list after installing new effects In Edit View choose Effects gt Refresh Effects List 35 Chapter 2 Setting up Adobe Audition ou can customize the way Adobe Audition works by setting up devices and internal Y preferences About setting up Adobe Audition Setup tasks fall into several categories Perhaps the most important is setting up the devices you want to use with Adobe Audition If you have multiple sound cards or a single card that has multiple inputs and outputs you need to specify which devices you want to use for playback and recording In addition you can set up MIDI devices external controllers and ReWire connections for use with Adobe Audition For more information on these tasks see Setting up devices on page 36 Another category of setup tasks is customizing internal Adobe Audition preferences to best suit your needs For example you can change the appearance of the workspace set buffer sizes to optimize performance change the locations of temporary folders to better utilize disk space and customize the wave and session displays For more information on these tasks see Setting Adobe Audition preferences on page 43 A final category of setup tasks is managing the size of temporary files The size o
142. display right click and select a zoom option e Right drag the desired zoom area on the time ruler To zoom back out again right click and choose Zoom Out or Zoom Full from the context menu e Place the mouse pointer within the waveform display and turn the mouse wheel This zooms into the time area directly beneath the mouse pointer Turning the mouse wheel the other direction zooms back out Previewing the multichannel project The Multichannel Encoder provides several preview options including different types of playback controls and playback format options a 00 00 00 00 FR m LFE i Play All Preview Device Format D L Ciystal WDM Audio 16bit A Rs COE E MARAT SAE LR d 27 24 21 18 15 12 9 68 3 0 0 Marlowe ar ii 30 20 0 10 dB Close Help E Preview Volume m 2 O D 4 e eb i Preview controls A Transport controls B Time indicator C Output meters D Preview device E Preview volume F Preview device change button G Master Level Previewing a track or session in the Multitrack Encoder You can choose from or adjust the following preview controls Go To Beginning 14 Places the cursor at the start of the track Play Track Plays the currently selected track from the cursor location Playback always plays to the end of the track regardless of the current zoom level 222 CHAPTER 10 Creating Surround Sound Play All Plays from th
143. dit gt Paste To New 94 CHAPTER 4 Editing Audio Mixing audio data when pasting The Mix Paste command lets you mix audio data from the clipboard or a file with the current waveform If the format of the data on the clipboard differs from the format of the file it s being pasted into Adobe Audition automatically converts the format before pasting the data The Mix Paste command provides a quick alternative to using the more powerful and flexible multitrack functions in Adobe Audition To mix audio data with the current waveform 1 Inthe waveform display place the cursor where you want to start mixing the audio data Alternately select the audio data you want to replace 2 Choose Edit gt Mix Paste Alternatively click the Mix Paste button in the toolbar 3 Set the following options as desired and click OK Volume Adjusts the sound level of the left and right channels before pasting Move the volume sliders or enter a percentage in the text boxes to the right of them Paste in single channels either left or right by adjusting the level of the opposite x channel to zero Invert Turns that channel of the waveform upside down Any samples above the center line are placed below it and those below the center line are placed above it This option is handy when you want to take the difference between two samples or subtract one signal from another Lock Left Right Locks the volume sliders so that they move together
144. dobe com support products audition html e See the ReadMe file installed with Adobe Audition for information that became available after this guide went to press Want answers to common Visit the Adobe Audition support page at troubleshooting questions www adobe com support products audition html Want to register your copy of When you first start Adobe Audition you re prompted to register online Adobe Audition Fill out the form and then submit it directly or fax a printed copy Fill out and return the registration card included with your software package Want to access downloads or Visit the main Adobe Audition page at www adobe com audition links to user forums Working with Adobe Audition You can work with Adobe Audition in many different ways In this section you ll find direc tions to specific information to help you accomplish some common Adobe Audition tasks If you want to increase productivity e Use the Organizer window to quickly organize files preview loops and apply effects See Organizing files and effects on page 24 and Previewing audio by using the Organizer window on page 77 e Automatically convert audio from a CD into an editable waveform See Importing audio from CD on page 64 e Store selections and start points in cues to speed up editing and navigation tasks See Working with cues on page 96 e Batch process files to quickly apply favorite processing or
145. dth 50 ms OdB FS Square Wave IV Account for DC Recalculate RMS Help Waveform Statistics dialog box Histogram tab To view a waveform histogram 1 In Edit View select an audio range 2 Choose Analyze gt Statistics and click the Histogram tab 3 Select Left or Right to display either the left or right channel in the foreground To view numerical waveform statistics 1 In Edit View select an audio range 2 Choose Analyze gt Statistics and click the General tab Q For more information search for Waveform Statistics options in Help ADOBE AUDITION 1 5 125 User Guide Removing noise In Edit View you can use effects in the Noise Reduction menu to reduce background noise and broadband noise without reducing audio quality Using the Auto Click Pop Eliminator effect Edit View only If you need to quickly remove crackle and static from vinyl recordings first try the Auto Click Pop Eliminator effect You can easily select and correct a large area of audio ora single click or pop This effect provides the same processing quality as the Click Pop Elimi nator effect but it offers simplified controls and a helpful preview To use the Auto Click Pop Eliminator effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Noise Reduction and double click Auto Click Pop Eliminator 3 Set the desired options For more information search for Auto Click Pop Elimin
146. e Selecting ranges in the track display on page 164 Aligning and grouping two clips Selecting and moving clips To move a clip or change its properties you must select it You can select either individual clips or all clips in a track or session To select an individual clip Click the clip in the track display To select all clips in a track 1 Select the track 2 Choose Edit gt Select All Clips In Track number x If space exists between clips double click that space to quickly select all clips in a track To select all clips in a session Choose Edit gt Select All Clips ADOBE AUDITION 1 5 169 User Guide To move selected clips 1 Select the Move Copy Clip tool in the toolbar 2 Drag the clips y If you prefer select the Hybrid tool and then right click and drag the clips Grouping clips You can group clips to more efficiently organize edit and mix a session For example you can group guitar clips together to easily identify select and move them Grouped clips appear with the group icon and in a different color than ungrouped clips Changes to clip mute and lock properties affect all audio clips in a group See Setting audio clip properties on page 174 To group clips 1 Hold down the Ctrl key and click each clip you want in the group 2 Choose Edit gt Group Clips Alternatively right click any clip in the group and choose Group Clips To ungroup clips Selec
147. e waveform deselect all audio data 2 Choose Edit gt Copy or Edit gt Copy To New Alternatively click the Copy button in the toolbar Cutting audio data The Cut command lets you remove audio data from the current waveform and copy it to the active clipboard To cut audio data 1 Select the audio data you want to cut Or to cut the entire waveform deselect all audio data 2 Choose Edit gt Cut Alternatively click the Cut button in the toolbar Pasting audio data The Paste command lets you paste audio data from the active clipboard to the current waveform If the format of the data on the clipboard differs from the format of the file it s being pasted into Adobe Audition automatically converts the format before pasting the data The Paste To New command lets you create a new file and insert audio data from the active clipboard The new file automatically inherits the properties sample rate sample frequency and so on from the original clipboard material The Highlight After Paste option in the General tab of the Settings dialog box deter mines whether or not data is highlighted after you paste it into a file To paste audio data into the current file 1 In the waveform display place the cursor where you want to insert the audio data or select the audio data you want to replace 2 Choose Edit gt Paste Alternatively click the Paste button in the toolbar To paste audio data into a new file Choose E
148. e This Take Playing audio Adobe Audition provides several ways to play audio including using the transport controls to play the currently active file using the Organizer window to preview files and using the Windows Run command to start Adobe Audition and begin playing a file Playing audio by using the transport controls The transport controls provide several options for playing the currently active file For example you can play just the visible section of a waveform the duration from the current time indicator to the end of the file or the entire waveform In addition you can set preroll and postroll options to play a selection with just a bit of audio preceding or following it To start playback without using the transport controls press the space bar Press the space bar again to stop playback To play a range of audio Select the range you want to play and click the Play button gt in the Transport Controls window 76 CHAPTER 3 Importing Recording and Playing Audio To play from the current time indicator to the end of the current view Set the current time indicator where you want playback to start and click the Play button in the Transport Controls window To play from the current time indicator to the end of the file Set the current time indicator where you want playback to start and click the Play To End button in the Transport Controls window To play the visible portion of the file Righ
149. e Windows WAV can contain any one of various data formats 234 CHAPTER 11 Saving Exporting and Closing Files AIFF is a good choice for Windows Mac OS cross platform compatibility Before you open AIFF files in Adobe Audition add the aif or snd extension to the file and open it by using the Apple AIFF file filter When you transfer an AIFF file to a Macintosh 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 removed when a file is opened on a Windows computer However many Mac OS 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 no header text exists then the data is assumed to be 16 bit signed decimal integers The header is formatted as a 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 Options Choose any of the following e Include Format Header places a header before the data e Normalize
150. e cece eee e cence eee e en eeaees 116 Enhancing and Restoring Audio About enhancing and restoring audio eee eee eee 117 About the mastering process oo cece cece cece cence ene eee 117 Analyzing frequency phase and dynamic range 118 REMOVINGINOISE siorr E O E chededecgewenes 125 Filtering audi sic esses iunea ana EET ER IEDR EEE 129 Optimizing amplitude csrisrcinieroarcerroeriairinria neria 134 Chapter 6 Chapter 7 Chapter 8 Applying Stereo Pitch and Delay Effects About using stereo pitch and delay effects 4 139 Changing stereo imagery 2 eee cece eee eee eee eee tenes 139 Using chorus flanger and phaser effects eeeeeeeee 143 Changing pitch a ccscrsdgrwicadedvrdiaebetcdewaderaeeaebews 145 Adding delays and echoes eee cece eee centre eee eeeeee 147 Adding NEVER sc dudawsaivesnsdet tanta R ET AES 150 Creating special effects 00 cece cece cece eee eee ee erreren 153 Using multitrack only effects 6 eee cece cece e ee eens 156 Mixing Multitrack Sessions About mixing multitrack sessions eee eee eee ee eee 161 Working with sessions 0c cece eee ee eee ence eee ee ees 162 Setting advanced session properties cece eee eee 167 Working withclips ssdic4 svsitcdese Seeesd asad aa ied dewey 168 Working with audio tracks 6 0 cece eee cece eee eee eee 179 Working with ReWire tracks 0 kee eee cece cece eee 184 Working with MIDI
151. e clip and then do any of the following To add a control point click the envelope To remove a control point drag it off the clip To move a control point drag it To maintain time position hold down Shift while dragging To move all control points up or down by the same percentage hold down Ctrl while you drag To move all control points up or down by the same amount hold down Alt while you drag This option retains envelope shape restricting movement to the limits defined by the highest and lowest control points 190 CHAPTER 7 Mixing Multitrack Sessions Note With MIDI clips volume envelopes control MIDI velocity which usually represents the force with which a note is struck However some synthesizers are programmed so that velocity changes pitch or harmonic content To clear all control points for an envelope Right click the clip containing the envelope and choose Envelopes gt envelope type gt Clear Selected Points To use spline curves for an envelope Right click the clip containing the envelope and choose Envelopes gt envelope type gt Use Splines To rescale a volume envelope 1 Right click the clip containing the envelope and choose Rescale Volume Envelopes 2 Enter the number of decibels by which you want to raise or lower the envelope Possible values range from 40 to 40 Negative values raise envelopes and lower clip volume by an equal amount positive values do the opposite x
152. e cursor location playing the multichannel mix with all tracks that are checked in the Track List Like Play Track Playback always plays to the end of the session regardless of the current zoom level Time indicator Located next to Play All this indicator shows the time in the preview playback Preview Volume Controls the volume of the preview playback without affecting the volume of the exported files That is it doesn t change the amplitude of the exported WAV or encoded WMA files that are created from the Multichannel Encoder nor does it affect the levels measured by the 6 channel Output Meter Use the Master Level slider for changing these Output meters FL FR C LFE Ls Rs This set of six meters displays the output of each channel during preview During Play Track the meters display the output of only the selected track During Play All the meters display the output of the complete 5 1 mix These levels are what the actual levels will be for your exported WAV or WMA files from the session You can attenuate the overall 6 channel level by using the Master Level slider beneath the meters Master Level Sets the audible level of your preview playback However it is primarily intended 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 Format Displays the currently
153. e envelope scaling Rescale control points on pan volume and effects envelopes to quickly modify a clip in a multitrack mix Scale all points simultaneously while maintaining relative or absolute relationships between points See Automating mixes with clip envelopes on page 188 ADOBE AUDITION 1 5 7 User Guide Work efficiently Adobe Audition puts all the tools you need at your fingertips so you can get your work done quickly and efficiently An intuitive interface gets you up and running in no time and integrated editing mixing and CD burning streamline your audio workflow Integrated CD burning Create masters of your audio compositions by burning gapless audio CDs directly from Adobe Audition See Using CD Project View on page 257 Time stretching Visually drag the edge of any audio clip in a multitrack mix to fit a specific length of time with or without affecting the clip s pitch Quickly fit sound effects and dialog to video clips See Time stretching audio clips on page 177 Preroll and postroll playback Speed the process of performing destructive edits and applying effects by listening to the audio preceding and following a selection See Playing audio by using the transport controls on page 75 Custom keyboard shortcut sets Customize keyboard shortcut sets to configure Adobe Audition for your working style See Using shortcuts on page 12 In time loop previews Use the Organizer window
154. e filename prefix Destination Folder Specifies the folder in which you want Adobe Audition to place new split files Click Browse to open the Choose Destination Folder window and locate a different folder Output Format Sets the output format Depending on the format Options is available Click Options to select options for that format Normalizing groups of files 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 Group Waveform Normalize lets you normalize the volume of multiple open waveforms by using a three screen batch process 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 To normalize a group of files 1 Choose Edit gt Group Waveform Normalize 2 Select the open waveforms you want to normalize Click to select a single file Shift click to select contiguous files Ctrl click to select noncontiguous files and drag to select a group of files ADOBE AUDITION 1 5 245 User Guide 3 Click the Analyze Loudness tab and then click Scan For Statistical Information to display amplitude statistics for each waveform Double click a file in this list to see more detailed statis
155. e is required For details please visit http mp3licensing com 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 95110 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 C F R Parts 60 1 through 60 60 60 250 and 60 741 The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference Part number 90050796 05 2004 Con
156. e often used at the beginning of a session to provide timing information for musicians and then removed from the session before mixing down 278 Glossary Clip A visual representation of individual audio video or MIDI files in Adobe Audition s Multitrack View Clipping In digital audio distortion that occurs when the amplitude of a signal exceeds the maximum level for the current bit resolution for example 256 in 8 bit audio Visually clipped audio produces broad flat areas at the top of a waveform If you experience clipping lower the recording input or the source output levels CODEC Compressor Decompressor An abbreviation often used to describe multi media compression schemes used by ACM MPEG QuickTime AVI and the combined A D D A modules on some sound cards Compressor Reduces dynamic range by lowering amplitude when an audio signal rises above a specified threshold For example compressors can be used to eliminate variations in the level of an electric bass providing an even solid bass line Compressors can also compensate for variations in level produced by a vocalist who moves frequently or has an erratic volume Crossfade A fade from one audio track to another Crosstalk Undesired leakage of audio from one track to another acommon problem with analog tape Crosstalk is impossible in Adobe Audition because each track is stored as a separate digital audio file Cue List A list of time locations defined in an au
157. e track ADOBE AUDITION 1 5 193 User Guide Lock Locks or unlocks a track If the Lock button is disabled the track has no effects H M L Show the amplitude of high mid and low equalization frequencies applied to the track To change one of these values drag across the text box Dragging to the right increases the value while dragging to the left reduces it Pan controls Adjust the balance of each track To use the control that looks like an asterisk drag it to one of three positions hard left zero pan and hard right The Pan text box provides a more precise way of adjusting pan To change a pan value drag across the text box to the left or right Mute and Solo buttons Let you mute or solo a track Click the Mute button for as many tracks as you like to turn off their output Click the Solo button to solo the track To solo multiple tracks hold down the Ctrl key as you click the Solo buttons Track faders Adjust the track s relative volume in the mix Move the slider up or click the triangle above it to increase the volume move it down or click the triangle below it to reduce the volume Alternatively enter a value in decibels in the text box above the slider Scroll bar Lets you scroll from tracks 1 to 128 and any point in between Using the Bus Mixer Adobe Audition gives you the ability to organize multiple tracks into buses which are especially useful for grouping related tracks and collectively adding real time
158. e vertical cursor moves to this time location 5 Drag the Panner Point in the Surround Panner to the desired position in the sound field Two handle points appear on the envelope lines within the waveform display and move as you position the Panner Point You can also click either of the envelope lines to create additional adjustable handles for shaping the envelope lines 6 To edit an envelope handle drag it The Panner Point moves in tandem to show you the relative position in the sound field during playback To delete a handle drag it up or down beyond the edge of the waveform display area 7 To clear all envelope handle points and reset the track to flat envelopes select Clear All located below and to the right of the Pan Envelopes option 220 CHAPTER 10 Creating Surround Sound 8 To use spline curves for smoother transitions between points select Splines 9 Drag the playback cursor back to the start of the track and select one of the Play buttons Watch the Panner Point position and listen for the dynamic pan setting you just created Adjusting volume levels The Multichannel Encoder lets you adjust the subchannel level center channel level and track level To adjust the level Use any of the following options in the Multichannel Encoder dialog box Sub Channel Level Specifies the amplitude of the subchannel level to additionally send the track s signal to the LFE channel If the currently selected track is assigned
159. eaks as a great way to find out how loud a song will get before you record it Just start monitoring levels and then play the song After the song ends the peak indicators show the volume of the loudest part Adjusting a sound card s levels Adobe Audition doesn t directly control a sound card s record levels input gain and playback levels output volume Instead you can adjust these levels with the mixer appli cation that comes with the sound card or with the mixer built into Windows You may need to adjust levels if recordings are too quiet causing unwanted noise too loud leading to clipped distorted sound or not audible when played in Adobe Audition To get the best sounding results you should record audio as loud as possible without clipping Try to keep the loudest point somewhere between 2 dB and 0 dB when setting the recording levels To adjust a sound card s record and playback levels by using Windows 1 Open the Windows Volume Control program You can usually access this program in the Programs gt Accessories gt Entertainment or Multimedia menu of the Windows Start menu On many systems you can also double click the speaker icon in the system tray to access the Volume Control program which resembles a small mixing board with vertical sliders 2 To adjust the sound card s playback output level turn up the sliders on the Windows mixer to the desired volume Make sure that Mute underneath both slider
160. ear Energy Plot 50 linking sessions to Adobe Premiere Pro and After Effects 51 Load Meter 165 Logarithmic Energy Plot 50 Loop Duplicate command 173 Loop Info tab 200 Loop Properties command 202 ADOBE AUDITION 1 5 User Guide 295 loops about 197 defined 282 defining 198 extending or shortening 205 key of 200 202 204 previewing 77 properties in Edit View 200 properties in Multitrack View 202 stretching to fit 201 synchronizing 205 tempo of 200 202 204 lossless encoding 239 M macros 243 magnifying analysis graphs 122 magnifying the display 17 Manage Temporary Folder Reserve Space command 57 Marquee Selection tool 88 mastering audio 117 CDs 257 defined 282 memory allocating buffers 46 54 menus 12 Merge This Take Destructive command 75 Merge Rejoin Split command 172 metadata 116 metronome 204 Microsoft ACM 233 Microsoft DirectX 214 MIDI defined 282 fundamentals of 273 tracks about 185 triggering 12 MIDI devices choosing 36 MIDI Timecode MTC defined 282 MIDI Trigger defined 282 millisecond ms defined 282 miniplug defined 283 Mix Down commands 196 Mix Down To CD Project command 258 Mix Gauge 165 defined 283 Mix Paste command 94 113 mixdowns defined 283 exporting to audio 229 exporting to video 230 Mixers window 190 mixing automating with clip envelopes 188 default bit resolution 56 defined 283 preferences 54 m Law Wave format 232 Moni
161. ecting with the mouse You can select a range of audio data by dragging in the waveform display When precision is important you may want to zoom in to view the waveform in more detail See Zooming on page 17 Edit Vie Multitrack View CD Project View Dragging to select a range To select a range of a waveform Drag to select the desired range of the waveform To extend or shorten a selection Shift click the end of the selection that you wish to modify and drag to extend or shorten it Note If you prefer you can right click to extend or shorten a selection To enable this feature select Extend Selection in the General tab of the Settings dialog box See Setting Adobe Audition preferences on page 43 88 CHAPTER 4 Editing Audio To select a range in only one channel Do one of the following e Drag near the top of the left upper channel The cursor displays an L icon to indicate the left channel e Drag near the bottom of the right lower channel The cursor displays an R icon to indicate the right channel To select the visible range of a waveform Double click in the waveform display Selecting all of a waveform The Select Entire Wave command lets you select all of the audio data in a waveform You can use the mouse to do this as well To select all of a waveform Choose Edit gt Select Entire Wave or triple click in the waveform display Selecting audio frequencies in Spectral View
162. ects on page 188 Multitrack performance depends primarily upon overall system speed including CPU Oa and hard disk speed You can optimize multitrack performance on any system however by properly configuring multitrack options in the Settings dialog box See Multitrack options on page 54 Roll atte gt Jol Mf can a RETIN FEY Performance indicators in Multitrack View A Mix Gauge B Load Meter User Guide 166 CHAPTER 7 Mixing Multitrack Sessions To change background mixing settings Right click the Mix Gauge and choose any of the following e Disable Background Mixing e Lower Mix Priority When In Other Applications e A Mix Ahead setting to determine how far ahead of the current time Adobe Audition begins mixing Longer settings allow for faster mix editing but they might cause drop outs e Mix Entire Session to create a new background mix each time you edit a mix e A Mix Priority setting to determine the processing priority of background mixing versus other tasks x Disabling background mixing can improve performance when you need to extensively edit a mix To manually start background mixing Choose Fdit gt Refresh Now To view or hide the Load Meter Choose Window gt Load Meter Using sessions as SMPTE masters or slaves By using sessions as SMPTE masters or slaves you can synchronize the transport controls of Multitrack View with a MIDI sequencing application or an
163. ed 3 To compare the original audio to the processed audio select and deselect the Bypass option When the option is selected you hear the original audio when the option is deselected you hear the processed audio 4 When you e satisfied with the settings click Stop To add a preroll and postroll duration to a preview 1 In Edit View right click the Play button p or the Play To End button in the transport controls and choose Preroll And Postroll Options 2 In the Effects Preview section of the Preroll And Postroll Options dialog box enter durations for the preroll and postroll and click OK 32 CHAPTER 1 Looking at the Work Area 3 Do one of the following e Choose Effects gt Enable Preroll And Postroll Preview e Inan effects dialog box select Enable Preroll And Postroll Preview This option appears below the Presets If a dialog box does not have Preset the Enable Preroll And Postroll Preview option will not appear however you can still enable preroll and postroll preview by choosing Effects gt Enable Preroll And Postroll Preview 4 Preview an effect as described in the previous procedure Using plug in effects DirectX and VST plug ins let you extend the already powerful effects at your disposal in Adobe Audition Before you can start using plug in effects you must set them up in Adobe Audition For DirectX effects this process involves enabling the effects and then refreshing the effects list For VST effe
164. ed like Full Reverb and Reverb both of which increase the processing load on your system As a result you can make real time changes more quickly and effectively in Multitrack View without needing to lock effects to a track For slightly faster processing and more control you can also use the Studio Reverb effect For more information see Using the Studio Reverb effect on page 153 152 CHAPTER 6 Applying Stereo Pitch and Delay Effects To use the QuickVerb effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click QuickVerb 3 Set the desired options For more information search for QuickVerb options in Help Using the Reverb effect The Reverb effect lets you simulate acoustic space and it consists of both early reflections and echoes that are so closely spaced that they re perceived as a single decaying sound The Reverb effect is different from the basic Echo effect in that the delays aren t repeated at regularly spaced intervals The Reverb effect can create a wide range of high quality reverb results It can reproduce acoustic or ambient environments such as a coat closet a tiled bathroom shower a concert hall or a grand amphitheater The echoes can be spaced so closely together and made to occur at such random times that a signal s reverberated tail decays smoothly over time creating a warm an
165. el to loop when the cursor reaches the end of the viewable range of track If a range is selected looping occurs when the cursor reaches the end of the range e Loop While Recording Entire or Sel to loop when the cursor reaches the end of the track If a range is selected looping occurs when the cursor reaches the end of the range 3 Click the Record button to begin recording 4 Click the Stop button to stop recording If you use either of the Loop While Recording options for punching in audio a new take UE is created with each loop To punch into a range of a clip 1 In the track display select the range of the clip 2 Choose Edit gt Punch In 3 Position the current time indicator a few seconds prior to the selected range 4 In the Transport Controls window click the Record button 5 To punch in multiple takes repeat step 4 for each take ADOBE AUDITION 1 5 75 User Guide Note You can t punch into a loop enabled clip For information about disabling loops see Setting impermanent loop properties in Multitrack View on page 202 To select from multiple takes in a clip 1 Select the clip 2 Choose Edit gt Take History and then select the desired take To merge a selected take into a clip Choose Edit gt Take History gt Merge This Take Destructive Note Merging destructively adds a 30 millisecond crossfade at take edges To delete a selected take Choose Edit gt Take History gt Delet
166. eleted clip a volume change or a newly recorded track The progress of background mixing is displayed by the Mix Gauge See Mix Gauge on page 283 Band pass filter A filter that allows some audio frequencies to pass through unchanged Basic cue One of four types of Adobe Audition cues Basic cues mark important sections of a waveform for later reference for example to identify an editing point These cues also specify stop and start positions for the Play List See Play List on page 285 Beat cue One of four types of Adobe Audition cues Beat cues function like basic cues but they specifically identify musical beats Beats per minute bpm Musical tempo which is defined by the number of beats that occur every 60 seconds ADOBE AUDITION 1 5 277 User Guide Bit Part of the numbering system used in digital data Bits are combined in groups to form digital words which represent the changing amplitude values of an analog signal Bit resolution describes the number of bits used in each word determining the number of possible amplitude values Therefore higher bit resolutions produce higher dynamic range Bit resolution or bit depth The number of bits used to represent audio amplitude 8 bit resolution provides a maximum of 256 unique amplitude levels producing a 48 dB dynamic range 16 bit resolution provides 65 536 unique amplitude levels producing a 96 dB dynamic range Compact disc players have 16 bit resolution
167. elow zero By contrast nonsymmetric 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 Smooths Cut and Delete operations at the splicing point preventing audible clicks at these locations Smooth All Edit Boundaries By Crossfading Automatically applies a crossfade to the starting and ending boundaries of the selection This option smooths any abrupt transi tions at these endpoints thus preventing audible clicks when filtering small portions of audio You can enter a value in milliseconds in the crossfade time box to specify the crossfade duration to be applied ADOBE AUDITION 1 5 53 User Guide 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 Higher values retain more high frequencies while still preventing the aliasing of higher frequencies to lower ones A lower quality setting requires less processing time but results 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
168. en 3 Choose CD Digital Audio cda as the file type and navigate to the computer s CD ROM drive 4 Select the tracks you want to rip and click Open To extract tracks from a CD by using the Extract Audio From CD command 1 Place an audio CD in the computer s CD ROM drive 2 In Edit View or CD Project View choose File gt Extract Audio From CD 3 For Device choose the drive that contains the audio CD 4 For Source Selection do one of the following e Select Track to extract one or more complete CD tracks A list of all tracks on the CD appears along with their lengths stated in Min Sec Frame format Each second of CD audio has 75 frames e Select Time to extract part of a track or a segment of audio that spans multiple tracks Enter the beginning frame in the Start box and the total number of frames you wish to extract in the Length box Each second of CD audio has 75 frames The actual start and length times appear in Min Sec Frame format above their respective boxes The Range bar provides a graphical representation of how much audio will be extracted and where the audio appears within the CD However if you select only a short bit of audio to extract you might not see any change in the Range bar The Time option is great for pulling hidden tracks from CDs as well as for joining tracks that have been broken up by track indexes such as performance track CDs and live albums 66 CHAPTER 3 Importing Recording
169. en Waveform And Spectral Views button M in the toolbar Adobe Audition lets you customize certain features of Waveform View and Spectral View For example you can show or hide grid lines in Waveform View and change the resolution in Spectral View For more information see Display options on page 50 Changing the vertical scale In Waveform View the vertical ruler shows the decibel value of the audio data However you can change the scale of the ruler to Sample Values Normalized Values or Percentage Note In Spectral View the vertical scale is always in hertz Hz To change the scale of the vertical ruler Choose View gt Vertical Scale Format and choose the desired scale e Sample Values indicates amplitude as the data s exact sample value of the data e Normalized Values indicates amplitude on a normalized scale value that ranges from ltol e Percentage indicates amplitude on a percentage scale value that ranges from 100 to 100 e Decibels indicates amplitude using a decibel scale value that ranges from Infinity to Zero x Double click the vertical ruler to cycle through the scales ADOBE AUDITION 1 5 87 User Guide Selecting audio data To edit a waveform you must first select the audio data that you want to modify Adobe Audition provides several methods for making and adjusting selections Using cues ranges can save you time when making selections See Working with cues on page 96 Sel
170. enables you to run a single script repeatedly over a group batch of source files Note For a script to run on a batch of files you must record it in Script Works On Current Wave mode That is before you record the script a waveform must be open with no selection made In addition the Batch Processing dialog box enables you to change multiple waveforms from one audio format to another such as from WAV to MP3 For more information see Converting the sample type on page 110 Batch Processing Step 1 Choose source files 14 files folders in list c documents and settings user sounds ClubBass03 way Add Fies c documents and settings user sounds ClubBass13 wav c documents and settings user sounds ClubBeat01 wav c documents and settings user sounds ClubBeat03 wav c documents and settings user sounds ClubBeat0S wav c documents and settings user sounds DancBeat01 way c documents and settings user sounds DancBeatO5 way c documents and settings user sounds DancBeatO7 way c documents and settings user sounds GateKitO3 wav c documents and settings user sounds GateKit04 wav c documents and settings user sounds GateKit10 wav c documents and settings user sounds RockBeatO2 way c documents and settings user sounds RockBeatO7 way Remove All Close 2 Run Script 3 Resample 4 New Format 5 Destination Help The Files tab of the Batch Processing dialog box To batch process files 1 In Edit View
171. er effect 133 QuickVerb effect 151 ADOBE AUDITION 1 5 User Guide 297 R RAM allocating buffers 46 54 ranges saving to new file 227 selecting in Multitrack View 164 RAW format 232 241 RCA cable defined 286 real time effects about 185 applying 185 locking tracks with 188 mixing 186 removing 185 real time defined 286 recording audio 32 bit options 39 about 72 choosing a device for 36 correcting for drift 55 setting the start point 68 recording devices See input devices redoing edits 22 referenced clip defined 286 reflective surfaces simulating with Echo effect 148 Refresh Effects List command 33 Refresh Now command 165 Remove All Tracks command 259 Remove Clips command 179 Remove Selected Tracks command 259 removing noise 125 renaming files 249 repositioning windows 14 resample defined 286 Rescale Volume Envelopes command 188 reserve space 57 resizing windows 14 restoring audio about 117 restoring default workspace 44 reverb adding 150 defined 286 tails 152 Reverb effect 152 reversing audio 106 Revert To Saved command 23 rewinding 79 ReWire tracks mixing down 196 ReWire tracks working with 184 right channel editing 92 right click menus 12 rip defined 286 ripping from CD 64 S S N ratio defined 287 SAM format 232 sample rate changing 111 considerations for choosing 110 defined 287 previewing a different rate 111 sample type converting 61 110 displaying in status bar 21
172. er size or number of buffers used For example if you experience breakups in your audio or you can t stop a recording in progress increase the buffer size Use the two fields in the Edit View 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 Wave Cache Determines the amount of memory that Adobe Audition reserves for processing data Recommended cache sizes are from 8192 to 32768 KB 8192 KB is the default Select Use System s Cache 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 EV Preview Buffer Determines the minimum buffer size used when sending data to your sound card for the real time Preview feature found in many effect dialog boxes The default value is 250 milliseconds Different sound card ports may require different memory buffer settings If you hear choppiness skips or dropouts when you use the Preview feature try adjusting the buffer size used Choppiness can be caused by insufficient processing power as well Keep in mind that a larger Minimum Preview Bu
173. ere your mouse pointer is placed within the wave display and changes dynamically when you move the pointer For example if you see R 15 2 dB 0 00 242 in the Status Bar when in Edit View this means that your pointer is over the right channel at 0 242 seconds into the waveform and the amplitude at that precise point is 15 2 dB 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 Displays sample information about the currently opened waveform For example a 44 100 kHz 16 bit stereo file shows up as 44100 16 bit stereo 22 CHAPTER 1 Looking at the Work Area File Size Represents how large the active audio file is measured in kilobytes If you see 308 K in the Status Bar then the current waveform or session is 308 kilobytes KB in size File Size time Shows you the length measured in time of the current waveform or session For example 0 01 247 means the waveform or session is 1 247 seconds long Free Space In Edit View and Multitrack View shows how much space is available on your hard drive In CD Project View shows how much space remains on a CD based on which View menu item is selected 74 min CD or 80 min CD Free Space time In Edit View and Multitrack View displays the amount of available time left for recordin
174. es per second A unit of measurement that describes the frequency of a sound See Frequency on page 281 Index cue One of four types of Adobe Audition cues Index cues become index markers in a CD track If a CD player is configured to display remaining time it displays the time before track markers and index markers Note however that not all CD players support index markers Impulse A data file that the Convolution effect uses to modify samples Impulses function like amplitude maps For example if you apply an impulse of a single full volume sample the original audio data will be unchanged Should the impulse be at half volume however the original audio data will be reduced to half volume If several such impulses occur over time each with descending amplitude the original audio data will gradually and rhyth mically become lower in volume Interpolate To estimate the values of data points between known data points Interpo lation is used when new data must be generated to fill in areas where values are unknown 282 Glossary L Level Meters Adobe Audition s Level Meters are found by default along the bottom of the application window and they are used to monitor the volume of incoming and outgoing signals The red clip indicator to the right of the meters will light up and remain lit when levels exceed the maximum of 0 dB Clicking the clipping indicator resets it The top meter represents the left channel and the bott
175. ese encoding formats compress the original 16 bit audio to 8 bit audio 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 they also have 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 saved in this format expand automatically to 16 bits when opened so you shouldrrt save 8 bit files in this format 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 ADOBE AUDITION 1 5 233 User Guide ACM Waveform wav Microsoft ACM Audio Compression Manager is part of all 32 bit versions of Windows Adobe Audition supports the ACM driver which enables you to open and save files in a variety of formats other than those directly supported by Adobe Audition Some of these formats come as a standard part of Windows while others are provided by third parties You may acquire ACM formats when you install other software To save a file in an alternate format by using the ACM driver choose File gt Save As choose ACM Waveform as the file format and click Options You can select from among various quality levels and each level will give you different
176. esired values measured in seconds in the Add Silence Before and Add Silence After text boxes Save To Files Saves the audio between cue points to new files Filename Prefix Specifies a prefix for the new files Adobe Audition automatically adds numbers after the prefix phrase02 phrase03 and so on as well as the correct extension based upon the output format you choose Destination Folder Specifies the folder where Adobe Audition places the new files Click Browse to specify a different folder Output Format Specifies the desired output format for the new files If the specified format has options the Options button is enabled Click this button to select options ADOBE AUDITION 1 5 101 User Guide Setting cues automatically The Auto Cue feature lets you locate phrases or beats and automatically add them to the cue list You can also use this feature to remove silence from the beginning and end of a file To set cues automatically 1 Select the general range in which you want to find phrases or beats 2 Choose Edit gt Auto Cue and choose one of the following commands e Adjust Selection To Phrase selects a phrase within the selected range by adjusting the highlight inward ignoring any silence before and after the audio Nothing is added to the cue list Find Phrases And Mark scans the selected range marking nonsilent ranges as basic cues in the cue list e Find Beats And Mark scans the selected range marking beats a
177. essing effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Amplitude and double click Dynamics Processing 3 Set the desired options Q For more information search for Dynamics Processing options in Help ADOBE AUDITION 1 5 137 User Guide Using the Hard Limiting effect The Hard Limiting effect drastically attenuates audio that rises above a defined threshold leaving audio below the threshold unaffected This effect is particularly useful for increasing perceived volume because you can amplify audio beyond the digital maximum 0 dbFS and you can lower areas that would otherwise be clipped For example when you convert from 32 bit to 16 bit audio particularly loud 32 bit passages can cause 16 bit clipping To prevent clipping you can either use the Normalize effect to reduce the amplitude of the entire file lowering perceived volume or you can use the Hard Limiting effect to reduce amplitude only for loud passages increasing perceived volume To use the Hard Limiting effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Amplitude and double click Hard Limiting 3 Set the desired options For more information search for Hard Limiting options in Help Using the Normalize effect Edit View only The Normalize effect lets you set a peak level for a file or selectio
178. ession 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 to force the EQ into a certain aspect ratio You can also use placekeepers just for appearance s sake just because you like the way they let you customize the work area You can create up to four placekeeper windows and insert them wherever docking is allowed You can also change the appearance of placekeeper windows by filling them with a pattern To insert a placekeeper window 1 Choose Window gt Placekeeper 2 Dock the placekeeper in the desired location The window is automatically resized to fit the docked area To change the appearance of a placekeeper window Right click the window s handle and choose a fill option Nothing Cool Texture or Squares To make future placekeeper windows adopt the current appearance choose Make Default ADOBE AUDITION 1 5 17 User Guide To delete a placekeeper window Right click the window s handle and choose Close Navigating in the display window The display window shows you the current waveform in Edit View or session in Multi track View You can control how much of the waveform or session is displayed by zooming and scrolling You can also use the selection and view controls to determine the beginning time ending time and length of audio data in the display window Zooming Zooming lets you adjust the view in the
179. estination files are the same as those for the source files 8 Click the New Format tab 9 From the Output menu choose a format for the destination files 10 Click Format Properties to display options for the destination format Note Sample Format Types lists the sample properties of the waveforms that are to be converted If more than one entry is listed you might have to select different properties for each depending on the destination format For instance a 22 kHz mono waveform might need different encoding options than a 44 kHz stereo file 11 Click the Destination tab 12 Select a destination folder specify how files are renamed by setting the following options and then click Run Batch Same As File s Source Folder Saves modified files in the same folder as the file s source file Other Folder Specifies the folder in which to save modified files Click Browse to locate a folder Overwrite Existing Files Saves existing files with a new name Delete Source File If Converted OK Deletes source files after they are converted successfully ADOBE AUDITION 1 5 249 User Guide Remove From Source List If Converted OK Removes filenames from the source list after the files are converted successfully Output Filename Template Specifies how files are renamed By default the first part of the filename remains the same and the extension changes to match the chosen output format Alternatively you can type a different extension
180. et the data as A law or mu law compressed When you guess at these parameters upon opening a file it may sound incorrect depending on which parameters are wrong Once the file is opened and sounds fine you may hear clicks at the start or end of the waveform or sometimes throughout These clicks are various header information being interpreted as waveform material Just cut these out and you ve read in a wave in an unknown format Options Choose from the following e Data Formatted As specifies the format of the saved data e When Opening Offset Input Data By specifies the number of bytes by which to offset the input data e Create DAT Header File On Save writes a header to a separate dat file to make reopening the file easier 243 Chapter 12 Scripting and Batch Processing f you regularly perform certain audio tasks you can automate them with scripts and batch processing to work more efficiently About scripting and batch processing Adobe Audition scripts let you save a series of actions such as copying data or applying an effect so you can perform those actions again with the click of a button Scripts are simple text files that are similar to macros Adobe Audition stores the exact actions of your mouse and any tweaking of parameters so you can repeat them in the same sequence when you run the script For example suppose you have a combination of effects with particular settings an EQ setting a Hall reverb and so on
181. ets you open and save files in the formats described in this section In most cases you should save uncompressed audio in Windows PCM format and you should save compressed audio in either mp3PRO format or Windows Media Audio format You ll need to use other formats only in special situations 232 CHAPTER 11 Saving Exporting and Closing Files Some formats provide options for saving audio data Click Options in the Save As dialog box to access these options Note If you want to save files in a format that s not listed here you may be able to do so by using an ACM Waveform codec For more information see ACM Waveform wav on page 233 64 bit doubles RAW dbl This format uses 8 byte doubles in binary form 8 bytes per sample mono or 16 bytes per sample stereo interleaved The 64 bit doubles format has no header it s purely audio data just like the raw PCM 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 or exported to files in this format Files with the sam extension contain 8 bit signed raw data and by default they have no headers The sample rate starts off as 22050 Hz but you can change the sample rate after you open the file by choosing Edit gt Adjust Sample Rate A mu Law Wave wav The A Law and mu Law WAV formats CCITT standard G 711 are common in telephony applications Th
182. evices See Designating which devices you want to use on page 36 Use This Device In Edit View Indicates that Adobe Audition will use the device to record waveforms in Edit View Get 32 bit Audio Specifies how the input device sends 32 bit audio data to Adobe Audition If supported by the recording device you can send 32 bit audio as 3 byte Packed PCM 4 byte PCM or 4 byte IEEE float Multitrack Latency Specifies the delay time or latency that the device introduces during recording Many sound cards allow for monitoring input source signals with no latency However if you notice that tracks are out of sync it is probably because one of the devices you used for recording introduced latency Once you determine how out of sync a particular device gets you can enter the number of milliseconds to delay a track s playback in relationship to all other tracks playback to achieve synchronization Adjust To Zero DC When Recording Removes any detected DC bias when recording About using MIDI devices 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 perfor mance information can take the simple shape of a note instruction as in E4 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 MI
183. ewise the first MIDI Out device is assigned as the output for all MIDI tracks However you can easily reassign the devices for a track See Using the Track Properties window on page 180 6 If desired click a different tab to set up ordering for another type of device When you are finished click OK To quickly view or change the properties for a device select the device and click Properties Setting properties for audio output devices The Device Properties dialog box lets you specify Adobe Audition s parameters for playing back waveforms If you have multiple sound cards or a single card that has multiple audio outputs you can customize the properties for each output To set properties for audio output devices 1 Choose Options gt Device Properties and click the Wave Out tab 2 Select a device from the list at the top of the dialog box The capabilities of the selected output device are shown in the Supported Formats table A Yes or No indicates different combinations of sample rate and bit resolution This table also shows what if any 32 bit formats the output device can handle and whether it can accept the WDM driver extensible wave format 3 Set any of the following properties When you are finished you can choose a different device to set up or you can click OK to close the dialog box Order Displays the order of the device for use in Multitrack View Click Change to open the Device Order dialog box and chan
184. f temporary files is limited only by the amount of disk space that is available however when youre working with very large files or when you have many files open at the same time your disk space may run low If this happens you can delete temporary files you re not using clear specific Undo items and change the amount of reserve space For more infor mation on these tasks see Managing temporary files on page 57 36 CHAPTER 2 Setting up Adobe Audition Setting up devices You can use a wide range of devices with Adobe Audition Sound card inputs let you bring audio signals into Adobe Audition through sources such as microphones tape decks and digital effects units Sound card outputs let you monitor audio signals through sources such as speakers and headphones MIDI ports let you connect Adobe Audition to MIDI keyboards and synthesizers You can also synchronize Adobe Audition with ReWire appli cations and hardware or software components that support SMPTE MTC timecode Designating which devices you want to use The Device Order dialog box lets you designate which devices you want to use with Adobe Audition When working in Edit View you can designate one stereo output device to use for playback and one stereo input device to use for recording When working in Multitrack View you can assign different input and output devices to each audio track However before you can do this you must specify which devices you plan to
185. f your hard drive The drawback of course is that the temporary file can get extremely large potentially preventing you from being able to save a masterpiece on the same drive If you notice long delays between edits or stuttering sounds on playback you may be running out of free disk space in which to save the temporary file In this case you can use the Manage Temporary Folder Reserve Space dialog box to delete temporary files you re not using clear specific Undo items and change the amount of reserve space This dialog box automatically appears when available hard drive space nears zero kilobytes 58 CHAPTER 2 Setting up Adobe Audition A B y Folder Reserve Space Clear some Undo Items or close some Waveform Files Waveform Undo History 44 VOICE1 cel C Program Filed 44 OICE2y cel C Program Files X AmpedModBass08 A4 cel C Progr Undo items get AmpedSmackBass OneD cel C Pr cleared from selected AmpEggBass14 E cel C Program item to end of list BritStackChord21 D cel C Progre DarkGuitarBkwd cel C Program F DrumSpace cel C Program Files y Kick amp SnareVerb cel C Program F yw Close File Lower Hard Drive Reserves Manage Tempora Free Reserve Primary CDOCUME 1 nharward LOCALS 103240 20 MB Secondary 20 mp Set New Reserves Total Available Space 105 686 981 K Cancel Last Operation Manage Temporary Folder Reserve Space dialog box
186. ffects tab e Select Group By Category to list effects in a hierarchy where categories and their entries are shown in the same order as they appear in the Effects menu Deselect Group By Category to display all effects in roughly the same order as they appear in the Effects and Generate menus e Select Group Real Time Effects to list effects in a hierarchy where all of the Real Time Effects are grouped together the Off Line Effects are grouped together and the Multi track Effects are grouped together e Deselect Group Real Time Effects to return to the previous view Organizing favorites Favorites are effects scripts and even third party tools that you ve saved for easy access The Favorites tab in the Organizer window lists all of the favorites you ve created These same items are listed in the Favorites menu Organizer Files Effects Favorites _ Favorites tab in the Organizer window 28 CHAPTER 1 Looking at the Work Area To display the Favorites tab 1 Ifthe Organizer window isn t showing choose Window gt Organizer to display it 2 Click the Favorites tab in the Organizer window For more information on creating and editing favorites see Using favorites Edit View only on page 253 Working with effects Effects provide much of the functionality in Adobe Audition For example you use effects to remove noise optimize volume change pitch and add reverb If Adobe Audition doesn t provide
187. ffer Size requires more computer memory Use Sound Card Positioning Info Allows Adobe Audition to query the sound card for the actual location and sync up the cursor with audio This option is useful if a sound card doesn t play or record at 44 100 Hz some sound cards for example work at 44 050 Hz or 44 130 Hz Leave this option unselected unless the cursor is out of sync with the audio CD Device Options Specifies the SCSI interface used by your CD device ASPI Advanced SCSI Programming Interface or SPTI SCSI Pass Through Interface ADOBE AUDITION 1 5 47 User Guide Temporary Folders Specifies the folders in which you want Adobe Audition to store temporary files Adobe Audition creates temporary files for use when performing edits on your audio All temporary files begin with CEP and have the tmp extension The rest of the filename is chosen at random when the file is created If there are no copies of Adobe Audition running none of these files should be present since Adobe Audition normally deletes temporary files when it exits However these files can be left behind in extreme circumstances if Adobe Audition crashes or if Windows unexpectedly quits while Adobe Audition is active As long as Adobe Audition isn t running you can safely delete these files You can also use the Manage Temporary Folder Reserve Space to delete temporary files you aren t using while Adobe Audition is running See Managing temporary files on
188. file If you want to export only specific waves use the Edit gt Mix Down To File command instead See Mixing down ReWire tracks and specific audio clips on page 196 230 CHAPTER 11 Saving Exporting and Closing Files To export a mix to an audio file 1 Do one of the following e To export part of a session select the desired area in the track display e To export an entire session deselect everything in the track display If necessary click the track display to reveal the current time indicator 2 Choose File gt Export gt Audio 3 Choose a location for the file type a filename and choose a file format 4 Depending on the format you choose additional options may be available To view format specific options click Options For more information on format specific options see Choosing an audio file format on page 231 5 Select Save Extra Non Audio Information to save header fields containing file infor mation and cue marks in the file In addition if you save a wav file this option stores the pathname to the original session file effectively linking related session and mixdown files for Adobe Premiere and Adobe After Effects users For more information see Working with Adobe Premiere Pro and After Effects on page 207 If you plan to burn the file to CD by using another program you should deselect this option Some CD recording applications interpret non audio information incorrectly and place
189. fy existing scripts as text in a Windows Notepad file To edit a script 1 In Edit View choose Options gt Scripts The Script Collections area displays the name of the currently opened script collection If the collection hasn t been named the name New Collection appears 2 Ifthe script collection you want isn t open click Open New Collection Navigate to the collection scp file you want and double click it 3 Select the script you want to edit from the list 4 Click Edit Script File The collection file opens in Windows Notepad 5 Scroll through the file to find the script you want 6 Make the changes you want and save the file ADOBE AUDITION 1 5 253 User Guide Using favorites Edit View only The Favorites menu in Edit View lists custom commands you can create The Favorites dialog box lets you create edit customize and save these commands which are based on your favorite Adobe Audition effects scripts and even third party tools the latter using command line executables You can even organize favorites into hierarchical submenus for easy navigation Favorites Properties r Press new shortcut key Cancel Shift B Clear Cureton script Tool Help Audition Effect Amplitude Envelope 9 0 100 62 99 136 N72 Edit Settings 75 56 358 34 483 19 673 6 100 0 0 1 0 I Use Current Settings J7 Show Dialog The four tabs in the Favorites dialog box To apply favorites In Edit View ch
190. g based upon the currently selected sample rate This value is shown as minutes seconds and thousandths of seconds For example 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 In CD Project View shows how much space remains on a CD based on which View menu item is selected 74 min CD or 80 min CD Keyboard Modifiers Displays the status of your keyboard s Ctrl Shift and Alt keys SMPTE Slave Stability Indicates the stability of incoming SMPTE timecode compared to Adobe Audition s internal clock For example 95 0 SMPTE indicate a very strong SMPTE signal Percentages above 80 should be stable enough to maintain sync For more information on SMPTE synchronization see Setting up for SMPTE synchroni zation on page 40 and Using sessions as SMPTE masters or slaves on page 166 Undoing and redoing changes Adobe Audition keeps track of the edits you perform during the course of an editing session These changes are stored in a temporary file on your hard drive They arent permanently applied to the file until you save and close it giving you unlimited undo and redo capability When you work with very large audio files you might not have enough free disk space to save the Undo data before continuing with an edit In addition the ti
191. g box is the Panning Assignment list where you can choose to either use the Surround Panner to position your track sound source or make fixed panning assignments for your track To specify the panning assignment Choose one of the following options from the Panning Assignment list at the top right of the Multichannel Encoder dialog box Surround Panner Stereo Source Uses the Surround Panner to position your sound source See Using the Surround Panner on page 217 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 is sent to the Front Left and Left Surround channels and your track s right signal is 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 retain their stereo image while being routed to the multiple channels ADOBE AUDITION 1 5 217 User Guide Surround Panner Summed To Mono Lets you use the Surround Panner 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 results in the summed mono signal being fed to all channels Lfe Only Sends the entire track signal to the LFE subwoofer channel Your monitoring system applies the
192. g is possible the docked window will have a single thicker horizontal or vertical bar called a resize bar When you move your mouse over a resize bar the cursor takes on the appearance of two lines with two arrows 4h Begin End Length Sel 1 1 00 0 0 00 View 1 1 00 2415 Docked window A Handle B Resize bar ADOBE AUDITION 1 5 15 User Guide To undock a window Drag the window s handle to the middle of the work area until you see an outline of the window The window is now a standard floating window You can move the window by dragging its title bar Press Ctrl while moving a floating window around to force it to not dock That way you x can float the window over an area that it would normally try to dock to To disable this feature select Ctrl Key Allows Dockable Windows to Dock in the General tab of the Settings dialog box See Setting Adobe Audition preferences on page 43 To dock a window in a different location 1 Drag the window s handle around the work area to locate potential docking areas The resize bars of other docked windows will light up wherever docking is possible 2 When you locate the desired docking area release the mouse button The window snaps into its new location Ifa window is docked in the same row with other windows you can force the window into a new row by right clicking the window s handle and selecting Force New Row Likewise deselecting Force New Row causes
193. g places each duplicate directly after its preceding clip for a continuous loop gt For a more flexible method of looping adjust a clip s loop properties See About loops on page 197 e Evenly Spaced defines the spacing between each clip according to the time display format This value defaults to the length of the selected clip producing the same effect as the No Gaps option Enter a greater value to place space between each clip or enter a lesser value to overlap clips To repeat a clip such as a drum hit at every other beat in a song set the time format to Bars And Beats See Monitoring time on page 69 If the clip s start and end points don t align properly with beats trim the clip in Edit View by using Edit gt Find Beats Setting audio clip properties In the Audio Clip Properties window you can change settings such as volume pan and color for audio clips Clip settings for volume pan and mute are independent from similar track controls You can also lock clips in time and lock them for play only If a clip is locked in time you can move it up or down to another track but you can t move it right or left to a new timeline position If a clip is locked for play only you can record in the remainder of the track without recording over the clip You can directly access many audio clip properties from the Edit menu or the clip context menu for example choose Edit gt Adjust Audio Clip Volume
194. g which devices you want to use on page 36 Setting track channel and bit depth To set the channel and bit depth for a track use the Track Properties dialog box Track Properties Track Properties Track 1 Title Output Track Properties dialog box with channel menu revealed and bit depth menu highlighted To set channel and bit depth for a track 1 Select the track and then choose Window gt Track Properties 2 Choose an option from the channel and bit depth menus Equalizing tracks You can equalize audio tracks by using either the track controls or the Track Equalizers window The track controls provide quick access to commonly used equalization settings the Track Equalizers window provides access to more precise and sophisticated controls ADOBE AUDITION 1 5 183 User Guide In the EQ tab of the track controls the track equalization text boxes show the current low mid and high frequency equalization You can drag across these text boxes to change equalization settings To switch between two banks of equalization settings you can use the Eq A or Eq B button For example you can adjust settings for the Eq A bank and then click the button to access the default unequalized settings for the Eq B bank However if you change settings while Eq B is active those settings are preserved This functionality lets you compare any two settings In the Track Equalizers window you can specify the center frequency and Q
195. ganizer window The following buttons appear at the top of the Files tab The Import File button amp lets you import audio MIDI and video files into Adobe Audition The Close Files button lets you close all selected files in the Files tab e The Insert Into Multitrack button amp lets you insert all selected files each into their own track in Multitrack View See Inserting audio files into multitrack sessions on page 63 e The Insert Into CD Project button lets you insert all selected files into CD Project View See Inserting tracks on page 258 e The Edit File button gm lets you open the selected file in Edit View See Switching between views on page 11 To select files in the Files tab Do any of the following e To select a single file click it e To select adjacent or contiguous files click the first file in the desired range and then Shift click the last e To select nonadjacent or noncontiguous files Ctrl click them Note If you select multiple files only the last file you click appears in Edit View To show or hide advanced options in the Files tab Click the Advanced Options button at the top of the Files tab When showing the advanced options appear at the bottom of the Files tab For information on the play controls in the Files tab see Previewing audio by using the Organizer window on page 77 26 CHAPTER 1 Looking at the Work Area To change the list
196. ge 24 Note If the audio file is longer than the space available on the selected track Adobe Audition inserts the new clip on the nearest empty track Importing audio from CD If you want to import audio into Adobe Audition from a CD you can digitally extract it or record it internally Digital extraction is the recommended method because it produces higher quality audio than internal recording Only use internal recording if your CD ROM drive doesn t support digital extraction Extracting tracks from CDs If your computer s CD ROM drive supports audio digital extraction also known as ripping you can extract tracks from audio CDs Once the audio is in Adobe Audition you can edit it like any other waveform Of course if the CD is a typical read only compact disc you won t be able to save those changes back to CD Instead save modified CD tracks to a hard disk or burn them onto a new CD ADOBE AUDITION 1 5 65 User Guide Adobe Audition provides two methods for ripping tracks from CDs using the Open command and using the Extract Audio From CD command Using the Open command is the quickest method and is preferred for ripping entire tracks Using the Extract Audio From CD command gives you more control such as the abilities to rip partial tracks and specify the ripping process used To extract tracks from a CD by using the Open command 1 Place an audio CD in the computer s CD ROM drive 2 In Edit View choose File gt Op
197. ge the order of devices See Designating which devices you want to use on page 36 Use This Device In Edit View Indicates that Adobe Audition will use the device to play waveforms in Edit View 38 CHAPTER 2 Setting up Adobe Audition Limit Playback To Downsamples audio data for playback Use this option to compensate for limitations imposed by your hardware For example if your sound card doesn t handle 32 bit audio correctly you can have Adobe Audition limit the playback of 32 bit files to either 16 bit or 8 bit Send 32 bit Audio As Specifies how Adobe Audition sends 32 bit audio data to the output device This option is not available if you select a Limit Playback To option If the output device supports it you can send 32 bit audio as 3 byte Packed PCM 4 byte PCM or 4 byte IEEE float Enable Dithering Activates dithering when playing back audio at a limited bit depth If you deselect this option Adobe Audition truncates the audio data instead This means that bits that aren t used are simply chopped off and discarded Enabling dithering is recom mended when working with audio files that have a higher bit depth than your sound card supports You can set the following options when dithering is enabled bits specifies the number of bits to dither to If you have a 20 bit sound card for example you will want to dither to 20 bits since any more bits will not be used by the card Even for 16 bit only sound cards choosi
198. generating signals Select this option and then enter values in the Hz text boxes of the keypad Amplitude Determines the volume level as a percentage of the tones generated where 100 means maximum volume without clipping Twist Specifies how much louder the higher frequency tone is from the lower frequency tone Enter a value in decibels in the Twist text box to increase the volume of the higher frequency tone accordingly Reset To DTMF Clears any custom frequency entries and replaces them with the standard DTMF frequency combinations User Guide 108 CHAPTER 4 Editing Audio Generating noise The Noise command lets you generate random noise in a variety of colors Traditionally color is used to describe the spectral composition of noise Each color has its own charac teristics Generating noise is useful for creating soothing sounds like waterfalls perfect for use with the Binaural Auto Panner function of Adobe Audition and for generating signals that can be used to check out the frequency response of a speaker microphone or other audio system component To generate noise 1 Place the cursor where you want to insert the noise Or if you want to replace part of the existing waveform select the desired range of audio data 2 Choose Generate gt Noise 3 Set the following options as desired and click OK Color Specifies a color for the noise e Brown noise has a spectral frequency of 1 f42 which means in lay
199. h for Clip Restoration options in Help Using the Hiss Reduction effect Edit View only The Hiss Reduction effect reduces hiss from sources such as audio cassettes vinyl records or microphones This effect greatly lowers the amplitude of a frequency range if it falls below an amplitude threshold called the noise floor Audio in frequency ranges that are louder than the threshold remain untouched If audio has a consistent level of background hiss that hiss can be removed completely Using the Hiss Reduction graph to adjust the noise floor To reduce other types of noise that have a wide frequency range try the Noise Reduction effect See Using the Noise Reduction effect Edit View only on page 128 To reduce hiss 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Noise Reduction and double click Hiss Reduction 3 Set the desired options 128 CHAPTER 5 Enhancing and Restoring Audio For more information search for Hiss Reduction options in Help Using the Noise Reduction effect Edit View only The Noise Reduction effect dramatically reduces background and broadband noise with a minimal reduction in signal quality This effect can remove a wide range of noise including tape hiss microphone background noise 60 cycle hum or any noise that is constant throughout a waveform The proper amount of noise reduction depends upon the type of background n
200. h for Dynamic EQ options in Help Using the FFT Filter effect Edit View only The graphic nature of the FFT Fast Fourier Transform Filter effect makes it easy to draw curves or notches that reject or boost specific frequencies This effect can produce broad band pass filters such as high and low pass filters to maintain high and low frequencies respectively narrow band pass filters to simulate the sound of a telephone call or notch filters to eliminate very narrow frequency bands The noise level of the FFT Filter effect is lower than that of 16 bit samples so it introduces no noise when processing audio at 16 bit resolution or lower FFT Filter graph De Esser preset For optimal results filter 32 bit samples If the source audio is 8 bit or 16 bit convert UE it to 32 bit first and after you filter it convert it back to 8 bit with dithering You ll produce better results than processing at lower resolutions especially if you perform more than one transform on the audio ADOBE AUDITION 1 5 131 User Guide To use the FFT Filter effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Filters and double click FFT Filter 3 Set the desired options For more information search for FFT Filter effect options in Help Using the Graphic Equalizer effect The Graphic Equalizer effect boosts or cuts specific frequency bands and provides a visual representat
201. he pan and volume of that particular note and so on When a MIDI file is played back the sound card takes this information and uses its synthesizer to re create the note on the right instrument Because every synthesizer sounds different the MIDI file will sound different when played through different sound cards MIDI support in Adobe Audition is limited to playback of MIDI files Conclusion To summarize the process of sampling or digitizing audio starts with a pressure wave in the air A microphone converts this pressure wave into voltage variations An analog to digital converter found in devices such as sound cards samples the signal at the sample rate and bit depth you choose Once the sound has been transformed into digital infor mation Adobe Audition can record edit process mix and save your digital audio files The possibilities for manipulation of digital audio within Adobe Audition are limited only by your imagination User Guide 273 Appendix C Glossary A ACM Audio Compression Manager A Microsoft technology that enables Windows applications to compress and decompress files in a variety of formats such as DSP Group TrueSpeech and GSM 6 10 Some ACM formats install with Windows while others install with software applications ADPCM Adaptive Differential Pulse Code Modulation An audio compression scheme that compresses sound files from 16 bits to 4 bits yielding a 4 1 compression ratio There are many varietie
202. he source audio for a track in Edit View To edit the source audio for a track 1 In CD Project View select the track you want to edit 2 Choose Edit gt Edit Waveform Setting track properties Adobe Audition lets you specify a title and artist for each track CD players that support CD Text display the text during playback You can also change the length of pauses between tracks enable or disable copy protection and pre emphasis features and add an ISRC International Standard Recording Code number To set track properties 1 InCD Project View select the track for which you want to set properties and click Track Properties Alternatively select the track and choose View gt Track Properties 2 Enter a track title and artist for the track Important In order for Adobe Audition to write text to the CD you must select Write CD Text in the Write CD dialog box See Writing a CD on page 261 3 If you want to set additional properties for the track select Use Custom Track Properties Set any of the following options and click OK Pause Adds a pause of the specified length before the track By default Adobe Audition assigns a 2 second pause to the beginning of each track ADOBE AUDITION 1 5 261 User Guide Copy Protection Sets the copy protection flag as defined by the Red Book specification for the track In order for copy protection to occur the CD player must support the copy protection flag Pre Emphas
203. iew as mono or stereo and as 16 bit or 32 bit Pre Mixing Determines 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 and faster to choose 16 bit for pre mixing as less data will be transferred across the hard drives For single output device situations or faster hard drives 32 bit is better as it provides optimization at mixdown Panning Mode Specifies the method used for panning waveforms in a multitrack session e L R Cut log Pans left by reducing the volume of the right channel and pans right 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 Pans 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 3 dB 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 32 bit realm if you re using the Equal power Sine panning method ADOBE AUDITION 1 5 57 User Guide Auto Zero Cross Edits Automatically adjusts 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 p
204. iew Device Format Crystal WDM Audio 16 bit B E Close Perera emer Preview Volume ar I 100 D b 6b eb i C T F G The Multichannel Encoder dialog box A Surround Panner B Track options C Track List D Waveform display with pan envelopes E Output meters F Preview controls G Master Volume control ADOBE AUDITION 1 5 215 User Guide To use the Multichannel Encoder 1 Open an existing Adobe Audition session or create a new session in the Multitrack window 2 Once all your tracks are added achieve a basic stereo mix balance with your desired track volume stereo pan and FX settings 3 Choose View gt Multichannel Encoder 4 In the Track List select the tracks and bus outputs you want to pan and export See Selecting tracks and buses in the Multichannel Encoder on page 215 5 Under Track Options specify the Panning Assignment and set the controls as desired See Assigning the panning source on page 216 Using the Surround Panner on page 217 and Automating the pan envelope on page 218 6 Set the volume for the tracks See Adjusting volume levels on page 220 7 Preview the panned tracks See Previewing the multichannel project on page 221 8 Export the session See Exporting surround sound files on page 223 Panning tracks and buses for surround sound Using the Multichannel Encoder you can pan any of the tracks and buses in your sess
205. ifies the number of beats per bar Key Specifies the session s key Time Specifies the session s time signature Choosing a different time signature automat ically updates the Beats Bar setting Advanced Opens the Advanced Session Properties dialog box so that you can set advanced properties for a session such as a time offset a customized metronome and notes about the session See Setting advanced session properties on page 167 Metronome Toggles the built in metronome on and off See Setting advanced session properties on page 167 ADOBE AUDITION 1 5 205 User Guide Working with loops in the track display After you add loops to a multitrack session you can edit them in the track display extending them to repeat as needed and synchronizing them with the beat of the music Loops in the track display A Single loop B No loop C Extended repeated loops Even though loop files are short you can extend them to repeat as many times as needed To synchronize loops to musical beats 1 Choose View gt Display Time Format gt Bars And Beats to change the format of the ruler to bars beats ticks per beat This format makes it easier to visually line up loops with musical beats See Monitoring time on page 69 2 From the Edit gt Snapping submenu choose any of the following e Snap To Ruler Coarse to snap loops to the beats within bars Use this option if you work with 1 4 or 1 2 bar loop files
206. ile size When converting to a lower bit depth Adobe Audition provides dithering options to help reduce noise and distortion Although dithering intro duces a small amount of white noise the result is far preferable to the increased distortion that you would otherwise hear at low signal levels Dithering also lets you hear sounds that would otherwise be masked by the noise and distortion limits of 8 bit audio Work at the 32 bit level when processing audio even if you plan to downsample to 16 x or 8 bit for output You ll achieve better results than at the 16 or 8 bit level The only time you may want to work at the 16 or 8 bit level is when processing a very large file on a slow computer 114 CHAPTER 4 Editing Audio To change the bit depth of a file 1 Choose Edit gt Convert Sample Type Alternatively click the Convert Sample Type button i in the toolbar 2 Select a bit depth from the Resolution list or enter a custom bit depth in the text box 3 When you select a lower bit depth options in the Dither section are enabled Set the following options as desired and click OK Enable Dithering Enables or disables dithering If dithering is enabled Adobe Audition truncates the audio meaning that unused bits are simply chopped off and discarded The result gives a crackly effect that fades in and out on very quiet audio passages Dither Depth Bits Sets the bit amount of dithering to be applied In general values of 0 2 to 0
207. in Help Using the Parametric Equalizer effect The Parametric Equalizer provides maximum control over tonal equalization Unlike the Graphic Equalizer which provides a fixed number of frequencies and Q bandwidths the Parametric Equalizer gives you total control over frequency Q and gain settings For example you can simultaneously reduce a small range of frequencies centered around 1000 Hz boost a broad low frequency shelf centered around 80 Hz and insert a 60 Hz notch filter The Parametric Equalizer uses second order IIR filters which are very fast and provide very precise resolution even at lower frequencies For example you can precisely boost a range of 40 to 45 Hz Parametric EQ graph Old Time Radio preset To use the Parametric Equalizer effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Filters and double click Parametric Equalizer 3 Set the desired options For more information search for Parametric Equalizer options in Help ADOBE AUDITION 1 5 133 User Guide Using the Quick Filter effect Edit View only The Quick Filter is an 8 band graphic equalizer that you can easily customize to suit many filtering needs Unlike a standard graphic equalizer settings for the individual frequency bands interact with nearby frequencies For example significantly boosting the level of the highest 22 kHz frequency band moderately boosts
208. information on these shared options see Working with effects on page 28 Note You can apply effects differently in Edit View and Multitrack View and some effects dialog boxes have different options in each view For information on applying effects in Edit View see Selecting audio data on page 87 For information on applying effects in Multitrack View see Using real time effects on page 185 Changing stereo imagery Adobe Audition lets you change the apparent location or stereo imagery of sounds coming from the speakers For instance you can move a sound from the center to the left or right speaker or even make sounds seem to circle a listener s head Note that all of the stereo imagery effects except the Doppler Shifter effect work only on stereo files Using the Binaural Auto Panner effect Edit View only The Binaural Auto Panner effect spatially lets you designate sound spatially on the left and the right in a seemingly circular pattern over time In order to spatially encode the sound either the left or right channel is delayed so that the sounds reach each ear at different times tricking the brain into thinking they are coming from either side 140 CHAPTER 6 Applying Stereo Pitch and Delay Effects To use the Binaural Auto Panner effect 1 In Edit View select a stereo range 2 In the Effects tab of the Organizer window expand Amplitude and double click Binaural Auto Panner 3 Set the de
209. ing and sort order of files in the Files tab Make sure that the advanced options are showing and do any of the following To show or hide files select a Show File Types option An X indicates that files of the specified type are showing e To change the sort order of files choose an option from the Sort By menu e To display the full path drive folder s filename of the entries in the File tab select the Full Path button To display only the filenames deselect this button To show or hide cues in the Files tab Make sure that the advanced options are showing and click Show Cues When Show Cues is selected a plus icon appears next to files that contain cues Click the plus icon to display the cue names For more information on cues see Working with cues on page 96 Organizing effects The Effects tab in the Organizer window lists all of the effects at your disposal The listing includes all of Adobe Audition s effects as well as all installed DirectX and VST audio plug ins You can change the grouping of effects to best meet your needs Organizer Aultitrack mplitude TOUP Realeiime ENE Effects tab in the Organizer window ADOBE AUDITION 1 5 27 User Guide To display the Effects tab 1 Ifthe Organizer window isn t showing choose Window gt Organizer to display it 2 Click the Effects tab in the Organizer window To change how the effects are grouped Click the buttons at the bottom of the E
210. ing the Silence effect leaves the duration of the selection intact and simply zeros the amplitude within it To insert a new duration of silence 1 Place the cursor where you want to insert the silence Or if you want to replace part of the existing waveform select the desired range of audio data 2 Choose Generate gt Silence 3 Enter the number of seconds of silence you want to generate Use decimals to enter partial seconds For example enter 3 to generate three tenths of a second of silence 4 Click OK Any audio to the right of the cursor is pushed out in time thereby length ening the waveform s duration Deleting silence The Delete Silence command detects and removes silence between words or other audio It s ideal for cleaning up voice prompts and speeding up narratives without affecting the foreground audio To delete silence 1 Ifyou want to delete silence from part of a waveform select the desired range of audio data If you don t select a range Adobe Audition deletes silence from the entire waveform 2 Choose Edit gt Delete Silence 3 Set the following options as desired and click OK Silence Is Defined As Determines what Adobe Audition considers silence In the Signal Is Below text box enter the amplitude value in decibels you want Adobe Audition to consider as the maximum level for silence In the For More Than text box enter the duration in milliseconds of this maximum amplitude value
211. ingle Pass Lower Quality compresses files in a single pass Use this option if you re in a hurry However the quality is 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 use e Multiple Pass Higher Quality compresses files in multiple passes providing better quality This setting is the default ADOBE AUDITION 1 5 237 User Guide e Block Size offers three size options each with a different compression ratio and quality level Large Default Quality with a compression ratio of 3 98 1 Medium Good Quality with a compression ratio of 3 81 1 and Small High Quality with a compression ratio of 3 25 1 mp3PRO mp3 The mp3PRO filter enables Adobe Audition to directly encode and decode mp3 files When you save a file to mp3 format the audio is encoded and compressed according to the options you select When you open an mp3 file the audio converts into the uncom pressed internal format of Adobe Audition As a result you can save an mp3 file in any format Avoid compressing the same audio to mp3 more than once Opening and resaving an mp3 file causes it to be recompressed so any artifacts from the compressing process become more pronounced MP3 mp3PRO Encoder Options dialog box contains two sets of options basic options for choosing an encoding method and more advanced options To view the advanced options click Advanced To view onl
212. io Specifying which channel of a stereo waveform to edit By default Adobe Audition applies selections and edits to both channels of a stereo waveform However you can easily select and edit just the left or right channel of a stereo waveform To specify which channel you want to edit Do either of the following e Choose Edit gt Edit Channel and choose which channel you want to edit e Click the Edit Left Channel button amp the Edit Right Channel button amp or the Edit Both Channels button in the View toolbar See Using toolbars on page 13 Copying cutting pasting and deleting Adobe Audition supports all of the basic editing functions as well as several commands designed specifically for audio editing Choosing a clipboard Adobe Audition gives you access to five internal clipboards for temporary data storage Each works similarly to the Windows clipboard except that they can handle more data at a faster rate To choose a clipboard Choose Edit gt Set Current Clipboard and choose a clipboard Choose the Windows clipboard if you want to copy audio data to other Windows applications Copying audio data The Copy command lets you copy audio data to the active clipboard The Copy To New command lets you copy and paste the data to a new file in one step ADOBE AUDITION 1 5 93 User Guide To copy audio data 1 In the waveform display select the audio data you want to copy Or to copy the entir
213. ion for surround sound By panning sound between the six surround sound speakers you can make the sound appear to come from anywhere around the listener Selecting tracks and buses in the Multichannel Encoder All of the tracks used in your current multitrack session appear in the Track List in the Multichannel Encoder If you uncheck a track it is removed from the multichannel preview and is not included when you export the multichannel project If you have routed a track to a bus the bus instead of the track will appear in the track list You can select and pan the bus output as one mono or stereo signal Additionally you can access the dry track signal and pan it separately as well See Using the Bus Mixer on page 193 for more information on setting up a bus 216 CHAPTER 10 Creating Surround Sound To select a track to pan for surround sound In the Multichannel Encoder dialog box click the name of the track Multichannel Encoder Track List Track 1 Track 2 Track 3 x Track 5 N O Track 6 The Track List with Track 4 selected To access a track assigned to a bus in the Track List 1 Close the Multichannel Encoder 2 Inthe track controls in Multitrack View click the Bus tab for the track you want to access 3 Increase the Dry value so that it is greater than zero 4 Reopen the Multitrack Encoder Assigning the panning source At the top right of the dialo
214. ion lets you merge cues and it also lets you convert point cues to range cues and vice versa If you find that you don t need a cue you can delete it To merge cues 1 Select the cues you want to merge You can select only two cue ranges to merge but you can select any number of cue points 2 Click Merge in the Cue List window Note The new merged cue inherits its name from the first cue You lose any information in the Label and Desc text boxes for the subsequent merged cue To convert a point cue to a range cue Right click the cue handle and choose Make Range The cue handle splits into two handles 100 CHAPTER 4 Editing Audio To convert a range cue to a point cue Right click a cue handle and choose Make Point The two parts of the range cue handle merge into a single handle with the start time of the range becoming the time for the point cue To delete cues 1 Select one or more cues 2 Click Del in the Cue List window Alternatively right click the cue handle and choose Delete Batch processing cues You can use the Batch feature in the Cue List window to add silence between cues and save the audio between cues to new files To batch process cues 1 Select one or more cues At least one of the cues you select must be a range 2 Click Batch in the Cue List window 3 Set the following options as desired and click OK Set Amount Of Silence Adds silence between cue points in the waveform Enter the d
215. ion of the resulting EQ curve Unlike the Parametric Equalizer the Graphic Equalizer uses preset frequency bands for quick and easy equalization The fixed Q settings ensure that no drop outs exist at intermediate frequencies You can space frequency bands at intervals of one octave one half octave or one third octave The Graphic Equalizer effect is an FIR Finite Impulse Response filter which maintains phase accuracy unlike an IIR Infinite Impulse Response filter which can introduce phase errors adding a ringing quality to audio To use the Graphic Equalizer effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Filters and double click Graphic Equalizer 3 Set the desired options Q For more information search for Graphic Equalizer options in Help Using the Notch Filter effect The Notch Filter effect removes up to six user defined frequency bands in addition to standard telephone DTMF tones Use this effect to remove very narrow frequency bands such as a 60 Hz hum while leaving all surrounding frequencies untouched 132 CHAPTER 5 Enhancing and Restoring Audio To use the Notch Filter effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Filters and double click Notch Filter 3 Set the desired options For more information search for Notch Filter options
216. ion uses to segment the spectral data before it displays it The segments 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 Resolution Specifies the number of vertical bands used in drawing frequencies Keep in mind that the larger this number the longer it will take for Adobe Audition to render the spectral display Performance will vary based on the speed of your computer Window Width Specifies the width of the window or frame size used in plotting the spectral data where 100 is a frame size of the FFT Fast Fourier Transform 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 the 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 for example to find out exactly where a certain frequency starts Plot Style Specifies a style for plotting frequencies e Logarithmic Energy Plot In this mode colors change with the decibel value of the energy at any particular time and frequency In this mode you can see more details in the very quiet ranges especially if the Range is quite high above 150 dB Use the Range value to adjust the se
217. is Sets the pre emphasis flag as defined by the Red Book specification for the track Pre emphasis is a basic noise reduction process that is implemented by a CD player For pre emphasis to occur the CD player must support the pre emphasis flag ISRC Specifies an ISRC International Standard Recording Code This code is used only on CDs that are destined for commercial distribution ISRC codes have 12 characters and use the following format e ISO Country 2 digit code for example US for USA e Registrant code 3 digit alpha numeric unique reference e Year of reference last 2 digits of the year for example 04 for 2004 e Designation code a 5 digit unique number Same For AllTracks Applies the settings with the exception of the ISRC code to all tracks in the track list Writing a CD Before you write a CD you should verify that your CD burning device is set up correctly Then set CD options and write the CD Note Audio on CDs must be 44 1 kHz 16 bit stereo If you insert a track with a different sample type Adobe Audition automatically converts the audio for you To set CD device properties 1 In CD Project View choose Options gt Device Properties 2 Select the device you want to set up 3 Select a buffer size and write speed for the device 4 Ifthe device supports buffer underrun protection select Buffer Underrun Protection to allow the drive to stop and resume burning as needed 5 Click OK 262 CHAP
218. isplay To use the Click Pop Eliminator effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Noise Reduction and double click Click Pop Eliminator 3 Set the desired options For more information search for Click Pop Eliminator options in Help Using the Clip Restoration effect Edit View only The Clip Restoration effect repairs clipped waveforms by filling in clipped sections with new audio data Clipping occurs when the amplitude of a signal exceeds the maximum level for the current bit resolution for example levels above 256 in 8 bit audio Commonly clipping results from recording levels that are too high You can monitor clipping during recording or playback by watching the Level Meters when clipping occurs the boxes on the far right of the meters turn red Visually clipped audio appears as broad flat areas at the top of a waveform Sonically clipped audio is a static like distortion Note If you need to adjust the DC offset of clipped audio first use the Clip Restoration effect If you instead adjust DC offset first the Clip Restoration effect wort identify clipped areas that fall below 0 dBES ADOBE AUDITION 1 5 127 User Guide To restore clipped audio 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Noise Reduction and double click Clip Restoration 3 Set the desired options Q For more information searc
219. ital system that utilizes a crossover point of 120 Hz Some 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 require ments to ensure that the audience will hear your project the same way you are hearing it on your monitoring system 227 Chapter 11 Saving Exporting and Closing Files dobe Audition lets you save audio files and export sessions to a variety of common A audio file formats Saving audio files When working with audio files in Edit View you can save your audio in a variety of common file formats The format you choose depends on how you plan to use the file For more information on supported file formats see Choosing an audio file format on page 231 When choosing a file format keep in mind that different formats allow different infor mation to be stored with the file As a result saving a file in a format different from its original format might cause some information to be discarded To save an audio file in Edit View 1 Do one of the following e Choose File gt Save to save changes you made to the current file Alternatively click the Save button lJ in the File toolbar e Choose File gt Save As to save changes to
220. ith other tracks Because mixing is nonde structive mixing adjustments don t permanently change original source files For example you can apply four effects to a track and later remove two effects to create a different sonic texture Adobe Audition saves information about mix settings and source files in session ses files Session files are relatively small because they contain only pathnames to source files and references to mix parameters such as volume pan and effect settings To more easily manage session files save them in a unique folder with the source files they reference If you later need to move the session to another computer you can simply move the unique session folder For more information see Saving sessions on page 228 Note Only one session can be open at a time 162 CHAPTER 7 Mixing Multitrack Sessions Working with sessions The Multitrack View work area includes several unique elements that help you mix sessions On the left the track controls let you adjust track specific settings such as volume and pan See Working with audio tracks on page 179 On the right the track display lets you edit the clips in each track See Working with clips on page 168 For information about elements of the work area that Multitrack View shares with Edit View see About the work area on page 9 bomma mem m 00 00 08 09 F G Multitrack View work area A Vertical scroll bar B T
221. ith previous versions when it comes to handling 32 bit PCM wav files 52 CHAPTER 2 Setting up Adobe Audition Dither Transform Results increases dynamic range Enables dithering when processing effects such as FFT Filter or Amplify Most processing done by Adobe Audition uses arith metic 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 With dithering you get almost 24 bit sample perfor mance in only 16 bits as the dynamic range is increased by another 10 dB or so allowing signals as quiet as 105 dB If this option is disabled the results are truncated to 16 bits when converting back thus losing the more subtle information 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 Use Symmetric Dithering Enables symmetric dithering In most cases it s best to leave this option selected If unselected a DC offset of one half sample is added each time data is dithered Symmetric dithering has just as many samples added above zero as b
222. itrack sessions When you insert an audio file in Multitrack View the file becomes an audio clip on the selected track For more information about audio clips see Working with clips on page 168 64 CHAPTER 3 Importing Recording and Playing Audio To insert an audio file into a multitrack session 1 In Multitrack View position the current time indicator at the desired insertion point 2 Select the desired track 3 Do one of the following e Choose Insert gt Audio select the audio file and click Open To preview the contents of a selected file click Play to listen to the file once or click Auto Play to play the file automatically when you select it Select Loop to repeat the file until you click Stop e Choose Insert and select the name of a recently opened waveform from the submenu e Choose Insert gt File Cue List A window appears that lists all of the files that are currently open in Edit View If a file has cues in it a plus sign appears next to its name to let you expand that file and see all the cue ranges in it Click the file or cue you want to insert Alternatively drag the file or cue into the track display e Select one or more files in the Files tab of the Organizer window and click the Insert Into Multitrack button amp If you select multiple files each is inserted into a separate track This method lets you insert a file into a session without leaving Edit View See Organizing files on pa
223. ix with the original nondelayed signal to provide a fuller sound or create echo effects Adobe Audition offers a variety of delay effects such as Reverb Chorus and Echo Destructive editing Editing such as cutting and pasting or effects processing that changes the original audio data For example in destructive editing a change in audio volume alters the amplitude of the original wave file In Adobe Audition Edit View is a destructive editing environment however edits do not permanently change audio until you save a file Devices Wave and MIDI devices that send data into and out of the computer In Adobe Audition wave devices are sound card inputs and outputs used for recording and playback of audio MIDI devices are hardware interfaces used to send performance and synchroni zation information to Adobe Audition and other MIDI enabled programs and hardware You can configure both device types in the Device Properties dialog box Digital Signal Processing DSP The process of transforming a digital audio signal by using complex algorithms Examples include filtering with equalizers and effects processing with reverbs and delays DirectX A development platform designed by Microsoft that provides an open standard for audio plug ins Plug ins based on this standard can be used by any application that supports DirectX such as Adobe Audition Dither Dithering adds small amounts of noise to a digital signal so that very quiet audio remains
224. ject View e Click the Edit View tab the Multitrack View tab or the CD Project View tab above the display window e Click the Edit Waveform View button Multitrack View button or CD Project View button amp in the View toolbar See Using toolbars on page 13 e In Multitrack View double click a file in the Files tab of the Organizer window or select a file and click the Edit File button gm Alternatively double click a waveform block in the display window To show and hide view tabs above the display window Choose View gt Show View Tabs A check mark indicates that the tabs are showing 12 CHAPTER 1 Looking at the Work Area Choosing commands Commands let you perform a wide variety of tasks You can choose commands from the menus at the top of your screen or click buttons in a toolbar You can also use context sensitive right click menus and keyboard shortcuts to quickly execute commands Using context sensitive menus Adobe Audition makes liberal use of context sensitive menus Whenever you see a simple function button control 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 Using shortcuts Adobe Audition provides a set of standard keyboard shortcuts to help you speed up the editing process For example instead of using your mouse to go to the Edit menu and choo
225. k display select the range you want to process 4 Ctrl click the wave clips you want to process Note If you select a range by dragging across a clip that clip is selected by default if you Ctrl click the clip you will deselect it 5 In the Effects tab of the Organizer window expand Multitrack and double click Vocoder 6 Set the desired options Q For more information search for Vocoder options in Help 161 Chapter 7 Mixing Multitrack Sessions n Multitrack View you can mix together multiple audio files to create layered soundtracks and elaborate musical compositions Because mixing occurs in real time it s extremely flexible during playback you can adjust mixes and record additional tracks without making any permanent changes If a mix doesn t sound good next week or even next year you can simply remix the original audio files About mixing multitrack sessions In Multitrack View you can add audio video ReWire and MIDI files to separate tracks of a multitrack session and then mix those tracks together When you re happy with a mix you can export a mixdown file for use on CD the Web and more Multitrack View is a flexible editing environment because mixing occurs in real time and is nondestructive Because mixing occurs in real time you can change mix settings during playback and immediately hear the results For example you can adjust a track s volume as a session plays to properly blend the track w
226. l undo files See System options on page 45 If you don t have enough disk space to save the undo information you can change the x Temp folder to a different drive if available 24 CHAPTER 1 Looking at the Work Area Organizing files and effects The Organizer window appears in Edit View Multitrack View and CD Project View This handy tabbed window lets you easily open and close files see a list of all open waveforms and MIDI files choose effects with ease and more By default the Organizer window is docked to the left of the waveform or session display however you can reposition it or detach it so it floats above the main window See Using windows on page 14 Organizing files The Files tab in the Organizer window displays a list of open waveforms MIDI files and video files You can use the Files tab to import files select files for editing insert clips into sessions insert tracks into CDs and close files The Files tab also provides a variety of advanced options that let you show and hide cues change the listing and sort order of files and play files You can choose to hide advanced options if you don t use them Organizer Iv Follow Show File Types Show Cues hull Paths Files tab in the Organizer window ADOBE AUDITION 1 5 25 User Guide To display the Files tab 1 Ifthe Organizer window isn t showing choose Window gt Organizer to display it 2 Click the Files tab in the Or
227. lace UE the pointer over the display window and roll the mouse wheel To change the position of the horizontal scroll bar Right click the horizontal scroll bar and choose a display option Above Display or Below Display Using the selection and view controls The Selection View Controls window 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 visible Both the selection and display range is shown in the current time display format For information on changing the time display format see Monitoring time on page 69 In addition to viewing time information you can also use the selection and view controls to adjust selections and change the section of audio data that is visible in the display window Simply enter new values for Begin End and Length After you click in a text box you can right click to access additional context menu commands Selection iew Controls amp Begin End Length Sel 1 1 00 0 0 00 l View 1 1 00 13 2068 124 06 Selection and view controls To display the selection and view controls Do one of the following e Choose Window gt Selection View Controls A check mark indicates that the window is showing e Click the Hide Show Selection View Controls button in the View toolbar See Using toolbars on page 13 If you don t like the default location of the selection and view con
228. lay format 70 Time Selection tool 164 168 time stretching clips 177 Time window 69 timecode defined 288 Timed Record Mode command 72 timeline snapping to ruler 91 tones generating 109 ADOBE AUDITION 1 5 User Guide 299 Tool tab Favorites dialog box 255 toolbars 13 tooltips 13 touch tones generating 106 track controls defined 288 track cues defined 288 for CD 98 inserting 258 Track Equalizers window 182 Track Mixer 191 Track Properties window 180 tracks bit depth setting 182 changing volume 180 channel setting 182 defined 288 equalizing 182 inserting files into 25 locking 188 muting 181 naming 180 panning 180 soloing 181 tracks for CDs editing source audio 260 inserting 258 removing 259 selecting 259 setting properties 260 Transport Controls Fast Forward button 79 Go to Beginning button 79 Go to End button 79 Pause button 79 Play buttons 75 Record button 72 73 74 Rewind button 79 showing and hiding 71 Stop button 78 Trim command 95 170 Trim Digital Silence command 102 TXT format 234 U undocking windows 14 undoing edits about 22 preferences for 47 unity gain defined 288 UPC EAN defined 262 upsampling quality level 53 Vv Variable Bit Rate VBR 225 VBR 225 VBR encoding 237 239 vertical ruler changing scale of 86 scrolling in 19 video clips 209 exporting mixdowns to 230 preparing mixdowns for export 211 previews customizing 210 working with 207 video files importi
229. le Channels SampleRate and Normalized The values for Normalized are True or False If no header exists the data is assumed to be 16 bit signed decimal integers 275 276 Glossary 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 occurs very quickly A sound with a slow attack rate such as a soft string section slowly increases in volume Attenuate To reduce volume or signal level Audio file format The method used to store audio data on disk chosen in Save dialog boxes Adobe Audition supports many file formats and each supports a variety of properties such as sample rate and compression Some file formats may not be compatible with other platforms On the Windows platform Windows PCM wav is the most common format Audition loop See Audition Loop cel on page 234 Automation The process of recording volume and pan changes during a mix and perfectly reproducing those changes every time a mix plays In hardware mixers that support automation volume and pan controls record timing information and physically move during playback In Adobe Audition you automate mixes with visual envelopes See Envelopes on page 280 Background mixing The process that Adobe Audition uses to mix audio for playback in Multitrack View Background mixing occurs behind the scenes reflecting changes to a session such as a moved or d
230. le in any way If you open an original file in Edit View for example you won t hear the effect of any clip envelopes Envelopes also operate in real time so you can edit them as a mix plays You can identify envelopes by color and initial position For example volume envelopes are green lines initially placed across the top of clips Pan envelopes are blue lines placed in the center of clips You edit envelopes by dragging control points on these lines With volume envelopes for example the top of a clip represents 100 of track volume while the bottom of a clip represents full attenuation silence With pan envelopes the top of a clip represents full left while the bottom represents full right If an envelope is too high or low preventing you from raising or lowering control points you can rescale it ADOBE AUDITION 1 5 189 User Guide Note Wet dry mix envelopes have the same initial position as volume envelopes so you may need to hide one to reveal the other Two envelopes in the track display A Volume envelope B Pan envelope To show or hide envelopes In the toolbar click any of the following buttons Show Volume Envelopes 3 Show Pan Envelopes gy Show Wet Dry Mix Envelopes Show FX Parameter Envelopes Show Tempo Envelopes amp You cannot edit tempo envelopes which display the tempo of MIDI clips To edit a clip envelope 1 2 In the toolbar click the Edit Envelopes button Select th
231. lipboard data is filled with the sample automatically after music is generated Thus selecting music a second time automatically uses the last sample 2 In the Effects tab of the Organizer window expand Special and double click Music 3 Set the desired options For more information search for Music options in Help Using multitrack only effects Some effects in Adobe Audition are available only in Multitrack View The Effects menu and the Multitrack category in the Effects tab contain all of these effects For information about selecting clips and ranges in Multitrack View see Selecting ranges in the track display on page 164 ADOBE AUDITION 1 5 157 User Guide Using the Envelope Follower effect Multitrack View only The Envelope Follower effect 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 resulting in the second waveform taking on the amplitude characteristics of the first This effect lets you for example have a bass guitar line that sounds only when a drum is hit In this example the drum waveform is the Analysis wave and the bass guitar waveform is the Process wave In addition to applying an amplitude envelope to a waveform you can alter the dynamic properties of the resulting signal with a variety of settings to otherwise expand gate compres
232. lips If tracks contain overlapping clips you can reveal hidden clips throughout a session To reveal hidden clips Choose Edit gt Check for Hidden Clips Removing and destroying clips You can remove selected clips from a session and keep their source files available in the Insert menu and in Edit View Alternatively you can destroy selected clips to remove them from a session and close their source files To remove selected clips Choose Edit gt Remove Clips To destroy selected clips Choose Edit gt Destroy Clips Working with audio tracks You can record and mix up to 128 tracks in Adobe Audition and each track can contain as many clips as you need the only limit is hard disk space The track controls appear to the left of the track display and you can resize these controls to be as wide or narrow as you wish On the Vol EQ and Bus tabs you can access different sets of controls for volume equalization and bus properties Though the wide variety of track controls may seem intimidating at first the controls for each track are identical so if you learn one you ve learned them all For information about recording on audio tracks see Recording audio in Multitrack View on page 73 Bae S E Track 1 R Sfi E track 7 R 5 vO IE EGWI Pa EE vo E Lack FX Pano L oO Track controls on the Vol EQ and Bus tabs 180 CHAPTER 7 Mixing Multitrack Sessions Using the Track
233. log wave With a resolution of two bits each sample can have one of only four possible amplitude positions With three bit resolution each sample has eight possible amplitude values CD quality sound is 16 bit which means that each sample has 65 536 possible amplitude values DVD quality sound is 24 bit which means that each sample has 16 777 216 possible amplitude values Higher bit depths provide greater dynamic range Where Adobe Audition fits into the process When you record audio on your computer Adobe Audition tells the sound card to start the recording process and specifies what sampling rate and bit depth to use The sound card determines the supported sample rates and bit depths Most cards can record and play at CD quality settings but many also support other settings for example a 48 kHz sample rate which is common in film and video post production Your sound card probably has both Line In and Microphone In ports through which it can accept analog signals The sound card samples the audio at the specified sample rate and assigns each sample an amplitude value Adobe Audition stores each sample in sequence until you stop recording Once you ve recorded the audio you can use Adobe Audition to edit the audio or save it to disk as a file When you play a file in Adobe Audition the process happens in reverse Adobe Audition tells the sound card that it will play a file and sends a series of digital samples to the card
234. ltering e Post Filter To prevent any chance of aliasing the post filter on upsampling removes all frequencies above the Nyquist limit thus keeping them from generating false frequencies at the low end of the spectrum In general select this option for best results Dither Amount For Saving 32 Bit Data To 16 Bit Files Enables dithering when pasting 32 bit audio to 16 bit The default value of 1 bit enables dithering while a value of 0 disables 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 10 dB or so This allows signals as quiet as 105 dB 54 CHAPTER 2 Setting up Adobe Audition Allow For Partially Processed Data After Canceling Effect Determines what happens after you click the Cancel button while in the middle of applying an effect to a waveform When selected Adobe Audition leaves the effect applied to all data processed up until the point you clicked Cancel When deselected Adobe Audition automatically removes the effect on already processed data when you click Cancel Multitrack options The Multitrack tab in the Settings dialog box provides options that let you optimize performance during recording playback and mixdown Playback Buffer Size Determines the buffer size in seconds used when sending data to your sound card when playing back a multitrack session Different sound card drivers may
235. ltitrack View and real time effects previews in Edit View Referenced clip In Multitrack View a referenced clip shares a source file with other clips For example if a drum hit occurs 30 times in a session you can conserve disk space by using 30 referenced clips of the same source file Because referenced clips represent the same file any alteration to a referenced clip like a cut or transform affects all instances ina session By contrast unique clip copies create a separate sound file on disk consuming more disk space but allowing for separate editing Resample To convert a sound file to a different sample rate Reverb The reverberant sound produced by an acoustic space such as a room or concert hall Reverb consists of dense discrete echoes that arrive at the ear so rapidly that the ear can t separate them Adobe Audition offers four reverb effects Quick Verb Studio Reverb Reverb and Full Reverb Rip The process of digitally extracting audio from a compact disc and turning it into a waveform Most newer CD ROM CD R and CD RW drives support digital audio extraction RMS Root mean square A mathematical formula used to determine the average amplitude of an audio selection RMS amplitude reflects perceived loudness better than peak amplitude ADOBE AUDITION 1 5 287 S S N ratio Signal to noise ratio describes the difference between the highest signal level before distortion and the average level of the noise floor In m
236. ly control audio volume for increased radio impact detailed fade outs and more See Optimizing amplitude on page 134 All of these effects are available in Edit View but some don t exist in Multitrack View Because the two views are linked however you can easily overcome this limitation If a multitrack clip requires noise reduction for example simply double click the clip to process it in Edit View About the mastering process Mastering describes the complete process of restoring and enhancing audio files for a particular medium such as radio video CD or the Web In Adobe Audition you can master either individual audio files in Edit View or groups of files in a batch process Batch processing is particularly useful if you plan to burn a group of files to CD See About scripting and batch processing on page 243 118 CHAPTER 5 Enhancing and Restoring Audio The mastering process consists of several stages which are usually performed in the following order 1 Analysis To determine the overall frequency and dynamic range of the existing file See Analyzing frequency phase and dynamic range on page 118 2 Noise reduction To remove unwanted hiss hum clicks or pops See Removing noise on page 125 3 Equalization To achieve the desired tonal balance See Filtering audio on page 129 4 Compression To maximize perceived volume See Optimizing amplitude on page 134
237. man s terms that the noise has much more low frequency content Its sounds are thunder and waterfall like 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 hence some people used to call it tan noise It is neither random nor predictable it is fractal like 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 meaning that 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 ADOBE AUDITION 1 5 Style Specifies a style for the noise e Spatial Stereo generates noise by using three unique noise sources and spatially encoding them to seem as if one comes from the left one from the center and one from the right When you listen to the result with stereo headphones your mind perceives sound coming from
238. manently altering saved files Such permanent changes are preferable when converting sample rate and bit depth mastering or batch processing Multitrack View uses a nondestructive method which is impermanent and instantaneous requiring more processing power but increasing flexi bility This flexibility is preferable when gradually building and reevaluating a multilayered musical composition or video soundtrack ADOBE AUDITION 1 5 11 User Guide You can combine destructive and nondestructive editing to suit the needs of a project Ifa multitrack clip requires destructive editing for example simply double click it to access Edit View Likewise if an edited waveform contains recent changes that you dislike use the Undo command to revert to previous states destructive edits arent applied until you save a file For more information on using Edit View see About editing audio on page 83 for more information on using Multitrack View see About mixing multitrack sessions on page 161 Switching between views You can use the tabs above the display window or menu commands to switch between Edit View Multitrack View and CD Project View If you prefer not to use the tabs above the display window you can hide them Edit View itrack Vie CD Project View View tabs above the display window To switch between views Do one of the following e Choose View gt Edit Waveform View View gt Multitrack View or View gt CD Pro
239. me format that corresponds to the frame rate of the clip 2 Choose Edit gt Snapping gt Snap To Frames To view more thumbnails in a video clip Horizontally magnify the session display See Zooming on page 17 Snapping to a video frame that falls within a video thumbnail User Guide 209 210 CHAPTER 9 Working with Video Previewing video In the Video window you can preview video clips as a multitrack session plays to precisely synchronize a soundtrack with specific video events such as scene changes title sequences or special effects You can customize the preview to optimize it for your monitor size and system speed For example you can enlarge the preview to fit a resized Video window or lower the preview quality to increase performance ideo High Quality The floating Video window in Multitrack View To hide or show the Video window In the toolbar click the Hide Show Video Window button W To automatically show the Video window when you insert a video file Right click the Video window and select Auto Show Video ADOBE AUDITION 1 5 211 User Guide To customize the video preview Right click the Video window and select any of the following e A zoom percentage to zoom in or out e Best Fit to fit the preview to the window e Maintain Aspect Ratio to maintain that ratio when you resize the window e Integer Factor Sizing to constrain the preview to ratios such as 1 2 1 1 and 2
240. me required to save the Undo information might slow down your work You can solve either problem by disabling the Undo function ADOBE AUDITION 1 5 23 User Guide To undo a change Choose Edit gt Undo name of change Or click the Undo button in the toolbar The Undo command conveniently indicates which change youre undoing For example it may appear as Undo Delete or Undo Normalize If you haven t yet edited a waveform or if Undo is disabled this command appears as Can t Undo If you forgot which editing action you last performed on a waveform look at the Undo command to refresh your memory whether you want to undo the action or not To discard edits made since you last saved the file In Edit View choose File gt Revert To Saved To redo a change In Edit View choose Edit gt Redo name of change Or click the Redo button in the toolbar To repeat the last command In Edit View choose Edit gt Repeat Last Command You can repeat most editing functions in Adobe Audition by using this command however there are a few exceptions such as Delete To disable or enable the Undo function Do one of the following e In Edit View choose Edit gt Enable Undo Redo A check mark indicates that the Undo function is enabled e Choose Options gt Settings and click the System tab Select or deselect Enable Undo and click OK You can also specify the minimum number of undo levels and you can purge al
241. mpresses to a smaller file size than WAV but results in no fidelity loss 226 CHAPTER 10 Creating Surround Sound e Fold Down To Stereo Settings folds down the 6 channel playback to a stereo playback on a non Windows XP system or a system without a 5 1 playback setup Specify the attenuation parameters to control how the levels of the Center Surround and LFE channels get mixed down with the front stereo channels and played back on a stereo output system The defaults are usually good settings for most files but you can enter any value in any of these three fields between 0 and 144 dB as desired e Show Codec Formats That Most Closely Match The Session s Sample Rate limits the list of selectable WMA kbps options to those that are the same sample and bit rate as the multitrack session s files Exporting to a mastering or duplication service 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 check with the recipient as to the format specifics Channel ordering differs between surround formats as do the crossover frequency points For example Digital Theater System 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 subwoofer and all frequency content greater than 80 can be sent to the main channels This differs from the Dolby Dig
242. n When you normalize audio to 100 you achieve the maximum amplitude that digital audio allows 0 dBFS The Normalize effect amplifies the entire file or selection equally For example if the original audio reaches a loud peak of 80 and a quiet low of 20 normalizing to 100 amplifies the loud peak to 100 and the quiet low to 40 To apply RMS normalization you must use the Group Waveform Normalize command If desired you can apply that command to only one file See Normalizing groups of files on page 244 138 CHAPTER 5 Enhancing and Restoring Audio To use the Normalize effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Amplitude and double click Normalize 3 Set the desired options Q For more information search for Normalize options in Help 139 Chapter 6 Applying Stereo Pitch and Delay Effects f you want to add richness and depth to sound you can use the effects in Adobe Audition to change stereo imagery or simulate acoustic spaces You can add subtle or psychedelic audio effects and you can even correct the pitch of an out of tune singer About using stereo pitch and delay effects Adobe Audition contains a wide variety of effects that let you change stereo imagery adjust pitch and add delay for example reverb and echo Dialog boxes for these effects share many common options such as graphs spline curves presets and previews For
243. n another waveform An impulse is the data by which every other sample in a waveform is multiplied For instance if the impulse is a single sample of a full volume click sound then the convolution of that impulse with any audio data is just that audio data itself If that click is at half volume then the convolution is the audio data at half volume Ina sense this effect 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 For example modeling someone saying Hey with a drum track short full spectrum sounds such as snares work best results in the drums saying Hey each time they are hit You can build impulses from scratch by specifying how to filter the audio and what delay rate to apply or by copying audio directly from a waveform With the proper impulses you can simulate any reverberant space For example if you have an impulse of your favorite cathedral and you convolute it with any mono audio for which the left and right channels are the same the result sounds as if that audio were played in that cathedral You can generate such an impulse by going to the cathedral standing where you want the audio to seem to be coming from generating a loud impulsive noise like a snap or click and recording the
244. n the sample being compressed As with Microsoft ADPCM use this format with 16 bit rather than 8 bit files 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 produces files with the highest compression ratio 8 1 but with the lowest number of bits Select this option if 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 is supported on fewer systems e 3 bits sample 5 3 1 produces higher quality than the 2 bits option but the quality isn t quite as good as with the 4 bits and 5 bits options Some systems might have problems playing back files with this compression rate especially stereo files e 4 bits sample 4 1 produces 4 bit files at a compression ratio of 4 1 This option is the default e 5 bits sample 3 2 1 produces files with the highest quality since more bits and a lower compression ratio are used However this compression rate is less compatible than the standard 4 bit Microsoft ADPCM wav The Microsoft ADPCM format provides 4 1 compression Files saved in this format expand automatically to 16 bits when opened regardless of their original resolution For this reason use this format with 16 bit rather than 8 bit files Options Choose from the following e S
245. ncy Band Splitter effect 157 frequency range analyzing 119 frequency defined 281 Full command 170 Full Reverb effect 150 Function tab in Favorites dialog box 254 FX Mixer window 186 G Generate commands 106 graph controls 29 Graphic Equalizer effect 131 Graphic Phase Shifter effect 145 grid lines showing or hiding 50 Group Waveform Normalize command 244 H Hard Limiting effect 137 Help 3 Help tab Favorites dialog box 255 Hertz Hz defined 281 hidden clips revealing 179 Hiss Reduction effect 127 horizontal scroll bar 19 Hybrid tool 164 168 l IFF format 233 importing audio 61 files 25 video files 208 IMPS folder 154 impulse and the Convolution effect 154 and the Full Reverb effect 151 defined 281 Impulse imp files 154 Index cue about 98 defined 281 input devices adjusting record levels 82 choosing 36 monitoring levels 80 setting properties 38 input gain adjusting 82 monitoring 80 Insert Audio From Video command 208 Insert In CD Project command 258 Insert Video command 208 Insert Delete Time command 163 inserting empty audio clips 178 files into tracks 25 interleaved 6 channel Windows Media 9 Pro WMA 223 interpolate defined 281 inverting audio 106 ISRC number 260 K keyboard shortcuts 12 L latency correcting 39 left channel editing 92 selecting data in 88 Level Meters defined 282 using 80 levels adjusting 82 LFE 217 limiter defined 282 limiting 246 Lin
246. nd wave B High sample rate that perfectly reproduces the original sound wave To reproduce a given frequency the sampling rate must be at least twice that frequency For example if the audio contains audible frequencies as high as 8000 Hz you need a sample rate of 16 000 samples per second to represent this audio accurately in digital form This calculation comes from the Nyquist Theorem and the highest frequency that can be reproduced by a given sample rate is known as the Nyquist Frequency CDs have a sample rate of 44 100 samples per second that allows sampling up to 22 050 Hz which is higher than the limit of human hearing 20 000 Hz Bit depth Just as the sample rate determines the frequency resolution the bit depth determines the amplitude resolution A bit is a computer term meaning a single number that can have a value of either zero or one A single bit can represent two states such as on and off Two bits together can represent four different states zero zero one zero zero one or one one Each additional bit doubles the number of states that can be represented so a third bit can represent eight states a fourth 16 and so on User Guide 271 272 Digital Audio Primer Amplitude resolution is just as important as frequency resolution Higher bit depth means greater dynamic range a lower noise floor and higher fidelity When a waveform is sampled each sample is assigned the amplitude value closest to the original ana
247. ng audio and video from 208 view tabs showing and hiding 11 views switching between 11 VOC format 235 Vocoder effect 158 volume envelopes 188 volume making consistent 244 VOX format 235 VST plug ins 32 w WAV format 232 233 236 239 Wave Cache 46 wave file defined 288 Wave Properties command 116 200 waveform clip defined 288 waveform display defined 289 view modes for 85 waveform statistics viewing 123 Waveform View adjusting display settings 50 switching between Spectral View and 85 waveform defined 288 waveforms considerations for editing 83 fundamentals of 268 viewing 85 wet defined 289 white noise defined 289 generating 108 window handle 14 Windows Media 9 Pro 213 Windows Notepad 250 252 Windows PCM format 225 239 Windows Recording Mixer command 82 windows using 14 WMA format 239 workspace changing colors 48 changing display settings 50 described 9 restoring to default 44 writing CDs 261 Z zero crossing defined 289 zero crossing points adjusting selections to 89 automatically adjusting edits to 57 snapping to 91 Zoom commands in Multichannel Encoder 221 zooming 17 zooming analysis graphs 122
248. ng components Menus The menus in the menu bar contain commands for performing tasks See Choosing commands on page 12 Toolbars The toolbars hold buttons for applying commonly used functions See Using toolbars on page 13 Windows Windows including the Organizer Transport Controls Zoom Controls Level Meters and Selection View Controls help you monitor and modify audio files See Using windows on page 14 Display window The display window shows you sound in an easy to manipulate form In Edit View the display window is where you modify single waveforms In Multitrack View the display window is where you mix multiple audio files in a session See About editing audio on page 83 and About mixing multitrack sessions on page 161 You can change many aspects of Adobe Audition s appearance including the color scheme the appearance of buttons and the appearance of the waveform display in the Settings dialog box See Setting Adobe Audition preferences on page 43 About using Edit View and Multitrack View Adobe Audition provides different work areas for editing single waveforms and creating multitrack mixes To edit single waveforms you use Edit View To mix multiple waveforms with MIDI and video files you use Multitrack View Edit View and Multitrack View use different editing methods and each has unique advan tages Edit View uses a destructive method which changes audio data per
249. ng to dither to 16 bit will improve the quality when playing back 32 bit audio e p d f probability distribution function controls how the dithered noise is distributed away from the original audio sample value Usually one of the Triangular p d f functions is a wise choice because it gives the best tradeoff between SNR distortion and noise modulation e Shaping specifies a noise shaping curve for moving noise to different frequencies You can also specify that no noise shaping is used Setting properties for audio input devices The Device Properties dialog box lets you specify Adobe Audition s parameters for recording waveforms If you have multiple sound cards or a single card that has multiple inputs you can customize the properties for each audio input device To set properties for audio input devices 1 Choose Options gt Device Properties and click the Wave In tab 2 Select a device from the list at the top of the dialog box ADOBE AUDITION 1 5 39 User Guide The capabilities of the selected recording device are shown in the Supported Formats table A Yes or No indicates different combinations of sample rate and bit resolution 3 Set any of the following properties When you are finished you can choose a different device to set up or you can click OK to close the dialog box Order Displays the order of the device for use in Multitrack View Click Change to open the Device Order dialog box and change the order of d
250. ng waveforms and sessions Ctrl Home Scroll to the beginning Ctril End Scroll to the end Ctrl Page Up Scroll one page to the left Ctrl Page Down Scroll one page to the right Ctrl Left Arrow Scroll to the left Ctrl Right Arrow Scroll to the right Keys for viewing windows F12 Toggle between Multitrack View and Edit View Alt 1 Set focus to the main display 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 267 Appendix B Digital Audio Primer nderstanding the fundamentals of sound is the first step in learning about digital audio In this primer we ll introduce the basics of sound so you can work more effectively with Adobe Audition and the rest of your digital audio or video toolkit Sound fundamentals Sound is created by vibrations such as those produced by a guitar string vocal cords or a speaker cone These vibrations move the air molecules near them forcing molecules together and as a result raising the air pressure slightly The air molecules that are under pressure then push on the air molecules surrounding them which push on the next set of air molecules and so forth causing a wave of high pressure to move through the air As high pressure areas move through the air they leave low pressure areas behind them When these pressure lows and highs or waves treach us they vib
251. nge of audio with preroll and postroll 1 In Edit View right click the Play button gt or the Play To End button in the Transport Controls window and choose one of the following options Play Preroll and Postroll Play Preroll and Selection Play Postroll or Play Preroll Postroll and Selection 2 Click the button again to start playback You can also use keyboard shortcuts to play preroll and postroll For information on specific keyboard shortcuts Keys for playing audio on page 263 To set a duration for preroll and postroll 1 In Edit View right click the Play button gt or the Play To End button in the Transport Controls window 2 Choose Preroll and Postroll Options 3 In the Edit View Play section of the Preroll and Postroll Options dialog box specify a duration for preroll and postroll 4 Click OK Previewing audio by using the Organizer window The Files tab in the Organizer window provides several play options that make it easy to preview loops and other files These options are particularly handy when you work in Multitrack View because they let you preview loops at the session tempo For more infor mation on using the Files tab in the Organizer window see Organizing files on page 24 To preview a file 1 Make sure that the advanced options including the preview and sorting controls appear in the Files tab of the Organizer window If they don t click the Advanced Options button at
252. nging effects in Adobe Audition as the delay settings are fixed and don t change over time By further reducing a delay to between 1 and 14 milliseconds you can spatially locate a mono sound which has the same information in both the left and right channels so that the sound seems to be coming from the left or the right side even though the actual volume levels for left and right are identical To use the Delay effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Delay Effects and double click Delay 3 Choose Effects gt Delay Effects gt Delay 4 Set the desired options For more information search for Delay options in Help Using the Dynamic Delay effect The Dynamic Delay effect lets you change the amount of delay over the length of a waveform For example you could set a 2 millisecond delay for the first five seconds of audio a 20 millisecond delay for the next 15 seconds a 7 millisecond delay for the next 10 seconds and so on 148 CHAPTER 6 Applying Stereo Pitch and Delay Effects Dynamic Delay is especially cool when used as a real time effect in Multitrack View If you add the dynamic delay or Dynamic EQ which has a similar principle to Multi track View you get a new envelope that determines the delay To use the Dynamic Delay effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of
253. noise in stereo If you use this recording as an impulse convo lution with it sounds as if the listener is at the exact location of the recording equipment and the convoluted audio is at the location of the snap or click If several ticks descend in amplitude over time such as one tick every 100 milliseconds with each tick half as loud as the previous one then the resulting convolution with audio has 100 milliseconds between each echo and each echo is half as loud as the previous one To get a feel for Convolution open and play with some of the sample Impulse imp files that come with Adobe Audition You can find them in the Imps folder within the folder for Adobe Audition and on the Adobe Audition CD Use convolution to sustain a sound for any length of time For example the sound of a person singing aaaaaah for one second can be turned into thousands of people singing aaaaaah for any length of time by using dynamically expanded white noise Also to send any portion of an unprocessed dry signal back out simply add a full spectrum echo at 0 milliseconds The Left and Right volume percentages are the resulting volume of the dry signal in the left and right channels ADOBE AUDITION 1 5 155 User Guide To use the Convolution effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Special and double click Convolution 3 Set the desired options
254. ns were published The SCSI 2 specs don t accommodate CD ripping e MMC Read CD is a SCSI 3 specific setting and it works with most all recent drives If you have a newer CD ROM drive try this setting first e SBC Read10 is a standard SCSI read setting that uses a 10 byte SRB SCSI Request Block All SCSI devices are required to support this setting e SBC Read6 is a standard SCSI read setting that uses a 6 byte SRB SCSI Request Block Many SCSI devices support this setting but because it s optional not all do e Plextor D8 sends the D8 SCSI Op Code to the CD ROM drive Use this setting with older Plextor CD ROM drives ADOBE AUDITION 1 5 67 User Guide e D5 sends the D5 SCSI Op Code to the CD ROM drive e NEC works with older NEC CD ROM drives CD Speed Lists all extraction speeds that the selected CD ROM drive supports and lets you specify the speed you want to use The Max Maximum Speed option usually produces satisfactory results but if it produces errors specify a slower speed Buffer Size Specifies how much data Adobe Audition calls into the CD Extraction module to fetch therefore determining how much data is pulled from the CD in each call to the read command The default is 16 KB but you can experiment with other sizes which range all the way to the highest buffer size the CD ROM drive supports Although higher sizes mean faster ripping they could introduce errors into the ripped file Swap Byte
255. nsitivity in plotting frequencies e Linear Energy Plot When 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 You can adjust the Scaling factor to highlight audio of different intensities Show Cue And Range Lines Displays cue marker and range lines in the waveform display Cue marker and range entries in the Cue List appear with vertical dotted lines overlaying the audio connecting the arrows from the top to the bottom of the display Show Grid Lines Displays grid lines in the waveform display The grid lines mark off time on the horizontal x axis and amplitude on the vertical y axis ADOBE AUDITION 1 5 51 User Guide Show Center Lines Displays center lines in the waveform display The center lines represent zero amplitude of the waveform s right and left channels Show Boundary Lines Displays boundary lines in the waveform display 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 option specifies the amplitude at which the boundary lines appear Peak Files Specifies options for peak pk files which Adobe Audition uses to store infor mation about how to display WAV files Peak files make file opening almost instantaneou
256. nsumer equipment and 4 dBu for professional If these two hardware types are connected unity gain will result in a lowered input for consumer equipment and a raised input for professional W Wave file Any audio file format that contains primarily sound wave data Wave files can be in formats such as WAV AU AIF or mp3 Waveform A term that describes the visual representation of an audio signal displayed as amplitude across time in Adobe Audition In acoustics waveform refers to a sound wave of a specific frequency Waveform clip A visual representation of a wave file or related image in Multitrack View Edits of these clips are nondestructive ADOBE AUDITION 1 5 289 User Guide Waveform display The area of Edit View in which you view and edit audio data By default this audio material appears as a waveform but you can view it in spectral form by choosing View gt Spectral View Wet Used to describe an audio signal that includes signal processing such as reverb the opposite of Dry White noise White noise has a spectral frequency of 1 so equal proportions of all frequencies are present Because more individual frequencies exist in the upper ranges of human hearing white noise sounds very hissy Adobe Audition generates white noise by choosing random values for each sample Z Zero crossing A point in time where a waveform crosses the zero amplitude line To make edits sound smoother place them at zero crossing points
257. o Click Pop Eliminator effect 125 Auto Cue feature 101 291 automation defined 276 auto play 62 77 AVI format exporting mixdowns to 230 B background mixing defined 276 priority level 54 band pass filter defined 276 Bars And Beats command 205 Bars and Beats time format about 71 tempo and 199 Basic cue about 97 defined 276 Bass Management circuit 220 batch processing about 243 cue list 243 cue ranges 243 normalizing files 244 with scripts 247 Batch Processing command 247 beat cue defined 276 beats finding 90 marking with cues 98 beats per minute bpm and tempo 199 defined 276 Binaural Auto Panner effect 139 bit depth automatically converting files to 32 bit 51 changing 113 defined 277 downsampling for playback 38 fundamentals of 271 bit resolution defined 277 bit defined 277 brown noise about 108 defined 277 buffers playback Edit View 46 playback Multitrack View 54 real time preview 46 recording Edit View 46 recording Multitrack View 54 burn defined 277 burning CDs in Adobe Audition 261 tips when using another burning program 228 230 Bus Mixer 193 Bus Properties dialog box 193 bus defined 277 Cc CBR 225 CBR encoding 237 239 CCITT formats 232 233 238 CD Project View switching to 11 using 257 CD R defined 277 CD RW defined 277 CDs adding text 260 262 editing source audio 260 extracting tracks from 64 inserting tracks 258 pre emphasis 261 properties for CD b
258. o bring up the volume of the vocals lead bass or kick drum or remove any of them from the stereo mix 142 CHAPTER 6 Applying Stereo Pitch and Delay Effects To use the Center Channel Extractor effect 1 Select a stereo range 2 In the Effects tab of the Organizer window expand Filters and double click Center Channel Extractor 3 Set the desired options For more information search for Center Channel Extractor options in Help Using the Doppler Shifter effect Edit View only The Doppler Shifter effect creates the increase and decrease in pitch we notice when an object approaches and then passes us such as when a police car passes with its siren on The frequency of the noise from the siren starts out at a high pitch and tempo and it lowers as the car passes you When the car comes toward you the sound it makes reaches your ears as a higher frequency because each wave crest is actually compressed by the car moving forward The first crest leaves the car and by the time the next one leaves the car has moved forward reducing the wavelength of the sound and raising its frequency The opposite happens as the car passes by The waves are stretched out resulting in a lower pitched sound To use the Doppler Shifter effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Time Pitch and double click Doppler Shifter 3 Set the desired options For more information se
259. o one of the following e Select one or more files or track cues in the Files tab of the Organizer window Then drag the items into the track list or click the Insert Into CD Project button For more information on using the Files tab of the Organizer window see Organizing files on page 24 e In CD Project View choose Insert gt Audio or Insert gt Audio From Video Select a file and click Open e In CD Project View choose Insert gt File Cue List Select the file or track cue you want to insert e Drag any supported audio file type from your desktop Windows My Computer or Windows Explorer directly into the track list in CD Project View The file first opens in Adobe Audition and then is inserted into the track list e In Edit View open a file To insert the entire file make sure that no audio is selected to insert part of a file select the desired range Then choose Edit gt Insert In CD Project e In Multitrack View open a session file and choose Edit gt Mix Down To CD Project If the session includes track cues each cue range is inserted into the track list as a separate track If you want to divide a single long audio file such as a recording of a concert that x includes several songs into multiple tracks on a CD insert the file into a session and add track cues at the desired locations Then choose Edit gt Mix Down To CD Project The cue ranges are inserted automatically as separate tracks ADOB
260. o select both it and a range 3 In the toolbar do one of the following e To trim the clip to the range click the Trim To Selection button fl e To cut the range from the clip click the Cut Wave s Out Of Selection button lt Alter natively press Delete e To adjust clip edges to the range click the Adjust Waveform Boundaries To Selection button i To reveal more of a previously edited clip extend the range beyond the current clip edges To edit clip edges by dragging 1 In the toolbar click the Clip Edge Dragging button a 2 In the track display position the cursor over the left or right edge of the clip The edge dragging icon 4 appears If instead the time stretch icon 8 appears position the cursor above the corner handle 3 Drag to edit clip edges To slip edit a trimmed or looped clip 1 In the toolbar click the Move Copy Clip tool or the Hybrid tool 2 Hold down Alt and right click drag across the clip 172 CHAPTER 7 Mixing Multitrack Sessions To return to the full original version of a clip Select the clip and choose Edit gt Full Alternatively right click the clip and choose Full 507 The Full command doesn t apply to loops instead adjust clip boundaries by dragging them To edit the source file for an audio clip in Edit View Double click the clip Splitting and rejoining audio and MIDI clips The Split command functions similarly to a traditional tape splice it
261. oad Enables the ability to start Adobe Audition and play a file from the command line For example if you go to the Run command in the Windows Start menu and type c Program Files Adobe Audition 1 5 Audition exe c Program Files Adobe Audition 1 5 Audition Theme TalkBackVerb cel at the command line Adobe Audition will start and begin playing TalkBackVerb cel Live Update During Recording Enables live waveform drawing while recording On faster computers you can have the waveform displayed in real time as audio is being recorded However if you find the recorded audio becoming choppy disable this option In Edit View s Spectral View mode and at lower spectral resolutions around 256 you J can perform a nice scrolling spectral plot while recording with this option on Auto Scroll During Playback And Recording Enables scrolling of the waveform display in sync with playback Auto scrolling only takes affect when you are zoomed in on a portion of a waveform and play past the viewed portion Note The display refresh rate is directly related to the Total Buffer Size setting in the System tab of the Settings dialog box A low buffer size such as 1 results in a smooth scrolling display where as a high buffer size such as 8 results in a more choppy display See System options on page 45 Upon A Manual Scroll Zoom Selection Change Determines auto scrolling behavior when a manual scroll a zoom or a selection change occurs in Adobe
262. oat type 1 24 bit Non Standard saves full 32 bit floats ranging from 8million but the wav BitsPerSample is set to 24 while BlockAlign is still set to 4 bytes per channel 16 8 float Obsolete Compatibility is the internal format used by Adobe Audition 1 0 Floating point values range from 32768 0 but larger and smaller values are valid and aren t clipped since the floating point exponent is saved as well The wav BitsPerSample is set to 32 and BlockAlign is set to 4 bytes per channel e Enable Dithering dithers 32 bit files when they are saved to a PCM format 20 bit 24 bit or 32 bit This option is available only for a 32 bit file that you select to save to a nonfloating point type format It applies a Triangular dither with a 1 0 depth 1 0 and no noise shaping If you wish to apply a noise shaped dither use the Edit gt Convert Sample Type command to dither the audio first and then save the file without dithering enabled in the file format options ADOBE AUDITION 1 5 241 User Guide 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 you must select the sample rate resolution and number of channels upon opening the file By opening audio data as PCM you can interpret almost any audio file format but make sure that you have some idea about the sample rate number of channels and so on You can also interpr
263. offer controls for cueing indexes Also the time between the track cue that begins a track and the first index cue in that track shows up on the player as negative time To change the cue type 1 Select a cue 2 Click Edit Cue Info in the Cue List window 3 Choose a cue type from the Type menu Alternatively right click the cue handle and choose a cue type from the context menu Naming cues After you create a cue you can rename it and add descriptive information To rename a cue and add a description 1 Select a cue 2 Click Edit Cue Info in the Cue List window 3 Do either or both of the following e Enter a new name in the Label text box e Enter a description in the Desc text box ADOBE AUDITION 1 5 99 User Guide Adjusting cues You can easily adjust the position of cues as well as the duration of range cues To reposition a cue Do one of the following e For point cues drag the cue handle to a new location in the waveform display e For range cues drag the red start handle to a new location in the waveform display e Select the cue and click Edit Cue Info in the Cue List window Enter a new value in the Begin text box To change the duration of a range cue e Drag the blue end handle to a new location in the waveform display e Select the cue and click Edit Cue Info in the Cue List window Enter a new value in the End or Length text box Merging converting and deleting cues Adobe Audit
264. oint 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 Enables smooth scrolling when playing back audio in Multitrack View 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 Save Locked Track Files After Closing Sessions Saves the temporary files associated with locked tracks When you reopen the session Adobe Audition uses the temporary file instead of mixing down the locked tracks SMTPE options The SMTPE tab in the Settings dialog box provides options for adjusting the settings for incoming SMTPE timecode For more information see Setting up for SMPTE synchro nization on page 40 Managing temporary files When you edit a file Adobe Audition converts the audio data into an internal temporary waveform This process allows for quicker editing better handling of large files and the ability to undo changes You can specify the folders where you want Adobe Audition to save temporary files and customize Undo options in the System tab of the Settings dialog box See Setting Adobe Audition preferences on page 43 One advantage to using temporary files is virtually unlimited waveform sizes since the maximum waveform size depends only on the size o
265. oise and the acceptable loss in quality for the remaining signal In general you can increase the signal to noise ratio by 5 to 20 dB and retain high audio quality To achieve the best results with the Noise Reduction effect apply it to 16 or 32 bit audio with no DC offset With 8 bit audio this effect cannot reduce noise below 45 dB which is very audible To achieve a lower noise floor with 8 bit audio upsample the file to 16 bits apply the Noise Reduction effect and downsample the file back to 8 bits With a DC offset this effect may introduce clicks in quiet passages To remove a DC offset select the Center Wave preset provided by the Amplify Fade effect Adjusting frequency specific settings with the Noise Reduction graphs A Noise floor B Reduction graph C Original audio D Processed audio To reduce noise added by a sound card during recording start the recording with a Ur second of silence After recording is complete use that silence as the Noise Reduction Profile and then remove it from the complete recording In some cases this process can increase dynamic range by 10 dB ADOBE AUDITION 1 5 129 User Guide To reduce noise 1 In Edit View select a range that contains only noise and is at least half a second long To select noise in a specific frequency range use the Marquee Selection tool See Selecting audio frequencies in Spectral View on page 88 2 In the Effects tab of the Organizer windo
266. oll the mouse wheel To set a zoom percentage for the mouse wheel enter a value for Zoom Factor in the General tab of the Settings dialog box See Setting Adobe Audition preferences on page 43 Scrolling The display window provides several scrolling devices The horizontal scroll bar which by default is at the top of the display window lets you scroll forwards and backwards in time throughout a waveform in Edit View or session in Multitrack View The vertical ruler on the right side of the display window lets you scroll through amplitude ranges in Edit View or tracks in Multitrack View In Multitrack View there s an additional vertical scroll bar on the left side of the display window that lets you scroll through tracks Edit View Wulitrack TalkBack erb 16 Dromspace Scrolling devices A Vertical scroll bar B Horizontal scroll bar C Vertical ruler To scroll in the display window Do either of the following e To scroll to the left or right drag the horizontal scroll bar Or click to the left or right of the scroll bar to page through the display one screen at a time e To scroll up or down drag in the vertical ruler In Multitrack View you can also drag the vertical scroll bar or click above or below the scroll bar to page through the display one screen at a time 20 CHAPTER 1 Looking at the Work Area You can also use the wheel on your mouse to scroll in the display window To do so p
267. om meter represents the right Limiter A signal processor that limits input signals that exceed a specified threshold level Above the threshold the output level remains constant even if the input increases in volume Loop An audio file that contains tempo and pitch information allowing it to match the tempo and pitch of other loops in a multitrack session You can repeat a loop enabled clip infinitely by simply dragging its bottom right corner M Mastering The process of finalizing audio for a specific medium such as the Web or audio CD Mastering consists of several processing phases with equalization and compression phases being the most essential You can master audio files either individually or in groups Collectively mastering groups of files is particularly important if the destination medium is audio CD MIDI Musical Instrument Digital Interface a way of communicating performance infor mation from one piece of software or hardware to another MIDI can simply relay musical notes or it can transmit detailed information about timing synthesizer patches and such Windows transmits MIDI information internally between applications to transmit MIDI information to and from your computer and external devices such as MIDI keyboards you must use a hardware MIDI interface for example the MIDI In port of a sound card MIDI Timecode MTC A method of sending timing information between MIDI capable devices For example you can conve
268. ommonly used functions are represented as buttons within toolbars which appear near the top of the main interface These buttons give you instant access to effects file handling functions viewing options and more at the press of a button To see what a button does hold your mouse pointer over it to display a tool tip that describes the function in simple terms 14 CHAPTER 1 Looking at the Work Area To show or hide a toolbar Choose View gt Toolbars and choose a toolbar name from the submenu A check mark indicates that the toolbar is showing To specify how many rows of buttons are displayed Choose View gt Toolbars and choose a number of rows from the submenu Using windows Many windows in the Adobe Audition interface can be repositioned and resized to better suit your requirements You can also hide windows that youre not currently using and then show them again when needed For more information on specific windows see the index or search Help Repositioning and resizing windows When you reposition a window you can dock it in a specific location in the interface or you can undock the window so that it floats above the main window To identify docked windows look for two thin vertical or horizontal lines These lines are the handle or grab bar of a docked window Move your mouse over a handle and the cursor looks like a plus sign with arrows at each end b Some docked windows can also be resized If resizin
269. on to establish the ReWire connection To establish a ReWire connection 1 In Multitrack view choose Options gt Device Properties and select the ReWire tab 2 Click Enable The dialog box automatically populates with a list of installed ReWire slave applications 3 Select the check box next to the application you want to activate as a slave 4 Choose one of the following track assignment options e Insert Summed Stereo Output Into First Available Track All ReWire devices offer one summed stereo output This option routes the summed stereo output into the first unoccupied track in the current session ADOBE AUDITION 1 5 43 User Guide e Insert All Outputs To Individual Tracks ReWire devices may offer multiple channel outputs This option routes each available ReWire output to its own track starting with the first unoccupied track and following contiguously to additional unoccupied tracks e Insert Outputs Manually Using Track Device Input Dialogs Choose this option if you want to assign outputs manually by using the Input Device dialog box See Working with ReWire tracks on page 184 5 Click Launch to launch the ReWire slave application and establish the ReWire connection Adobe Audition assigns output from the ReWire slave to one or more tracks as specified by the track assignment option you selected 6 Open the session you want to work with in the ReWire slave application to make the audio available to Adobe Audition
270. ono 112 using to convert sample rate of multiple files 115 converting audio formats 247 sample rate of session 229 sample type 61 to a different format 227 229 Convolution effect 154 copy protection for CDs 260 Copy Reference Here command 173 Copy To New command 199 Copy Unique Here command 173 copying audio 92 Creative Labs Audigy 223 Creative Sound Blaster format 235 Crossfade commands 176 crossfades duration of 56 crossover frequency points 226 Cue List batch processing 243 defined 278 Cue List command 243 cues adding silence between 100 adjusting 99 creating 96 deleting 100 inserting in a session 64 merging 99 playing 97 point cues versus range cues 96 renaming 98 saving 228 230 231 saving to files 100 selecting 96 setting automatically 101 showing or hiding cue lines 50 snapping to 91 types of 97 current time indicator about 68 custom time format 71 custom timecode display 44 cutting audio 93 D DC bias removing when recording 39 DC offset adjusting 81 Default Session commands 163 Delay effect 147 delay units and Multitap Delay effect 149 delay adding to audio 147 Delete Silence command 104 Delete This Take command 75 deleting audio 95 silence 104 Destroy Clips command 179 Destroy Selected Tracks Remove and Close command 260 Device Order command 36 Device Properties command 37 38 devices CD 261 choosing which devices to use 36 general uses of 36 ADOBE AU
271. oose Favorites followed by the favorite you want to apply To create or edit favorites 1 Choose Favorites gt Edit Favorites 2 Select from the following options click Save and then click Close New Enables the fields in the Properties area of the Favorites dialog box Edit Enables the fields in the Properties area for the selected favorite Delete Removes the selected favorite Up Moves the selected favorite up in the list The Favorites menu reflects the order of the list Down Moves the selected favorite down in the list 254 CHAPTER 12 Scripting and Batch Processing Name Specifies the name of a favorite Use this text box to help organize the Favorites menu by doing one or more of the following e Create hierarchical menus by using a backslash For example type My Delays Hall Reverb in the Name text box to place the Hall Reverb favorite in the My Delays submenu e Add separator bars by typing a series of dashes into the Name text box If you want more than one separator bar type a different number of dashes or add text so that the separator doesn t match one in the list For example type 2 the 2 after the dashes doesn t appear in the Favorites menu e Create a separator bar for a submenu by entering the submenu path first such as My Effects The text that appears with a separator bar is for appearance only Note If you create text for a submenu title m
272. operties 37 output gain adjusting 82 monitoring 80 overdrive 155 P p d f probability distribution function 38 pan envelopes 188 218 Pan Expand effect 140 Panner Point in Multichannel Encoder 218 panning in sessions 56 in surround 215 Parametric Equalizer effect 132 pasting audio 93 resampling data 53 pauses adding between CD tracks 260 pausing playing or recording 79 PCM Raw Data format 241 PCM defined 284 peak amplitude displayed in Level Meters 80 peak files defined 284 specifying options for 51 performance measuring with Mix Gauge and Load Meter 165 phase analyzing 121 defined 284 pink noise defined 285 generating 108 Pitch Bender effect 145 pitch changing 145 placekeeper windows 16 play lists 102 Play Looped button 199 playback cursor 69 playback devices See output devices playing audio about 75 automatically 62 77 choosing a device for 36 downsampling 38 setting the start point 68 plug in defined 285 effects using 32 Power Indicator lines 217 pre emphasis for CDs 261 preferences 43 premade loops 197 preroll and postroll for effect previews 31 presets defined 285 using for effects 28 previewing audio 61 audio in Organizer window 77 defined 285 previewing effects buffer size for 46 in Edit View 31 process signal for Vocoder effect 158 punch in defined 285 deleting unused takes 56 punching in audio 73 Q quantization defined 285 Quick Filt
273. options for formats and attributes Note The ACM driver you want to use might require that the file be in a specific format before saving it For example if you want to save a file in the DSP Group TrueSpeech format you should first use the Edit gt Convert Sample Type command to convert the file to 8 KHz mono 16 bit because that is the only format that the TrueSpeech ACM driver supports 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 Amiga IFF 8SVX iff svx The Amiga IFF 8SVX format is an 8 bit mono format from the Commodore Amiga computer Options Choose from the following e Data Formatted As saves the audio file in uncompressed 8 bit Signed format the default setting or in the compressed 4 bit Fibonacci Delta Encoded format e Dithering From 16 bit specifies a type of dithering for 16 bit files Triangular Dither Shaped Gaussian Dither Noise Shaping A or Noise Shaping B No Dithering is the default For more information on types of dithering see Changing the bit depth on page 113 Apple AIFF aif snd AIFF is Apple s standard wave file format AIFF supports mono or stereo files 16 bit or 8 bit resolution and a wide range of sample rates Adobe Audition supports only the PCM encoded portion of the data even though this format lik
274. orking with cues on page 96 To find the beginning of a beat 1 Click in the waveform display to the left of the first beat you want to find 2 Choose Edit gt Find Beats gt Find Next Beat Left The cursor moves to the beginning of the next beat To select audio between beats 1 Find the beginning of a beat 2 Choose Edit gt Find Beats gt Find Next Beat Right to select from the current cursor position to the next beat 3 If you want to select more than one beat choose Edit gt Find Beats gt Find Next Beat Right again Each time you choose this command Adobe Audition adds the next beat to the selection When you select audio to construct a loop click the Play Looped button in the transport controls to preview the loop After any necessary tweaking you can then save paste or add the loop to the Cue List To adjust the settings that Adobe Audition uses to find beats Choose Edit gt Find Beats gt Beat Settings Enter new values for Decibel Rise and Rise Time and click OK ADOBE AUDITION 1 5 91 User Guide For finding beats with material that has fast transient attacks such as drums specify a quick Rise Time and a high Decibel Rise so as not to cut off the beginning of the attack For material with softer attacks such as bass the Rise Time can be slightly slower relative to Decibel Rise Snapping Snapping causes selection boundaries as well as the current time indicator to move to items such as
275. orm and the maximum amplitude for each channel The right status area displays the overall frequency and equivalent musical note at the center point of the selected range The numbers beside musical notes indicate keyboard position and variance from standard tuning For example A2 7 equals the second lowest A on a keyboard tuned 7 higher than normal By default the musical note of the left channel also appears at the top of the window To hide that note dock the window right click the window handle and deselect Show Big Notes For more information see Using windows on page 14 Display style menu Select from the following graph display options e Lines displays amplitude at each frequency with simple lines The left channel is blue the right is red e Area Left On Top also displays lines for amplitude but this option fills the area beneath the lines in a solid color smooths out amplitude differences in the same area and places the left channel in front e Area Right On Top functions identically to the option above but places the right channel in front e Bars Left On Top shows the limitations on analysis resolution by splitting the display into rectangular segments and places the left channel in front The higher the FFT size the greater the analysis resolution and the narrower the bar e Bars Right On Top functions identically to the option above but places the right channel in front Scan Click this button
276. ost analog systems such as microphone preamps the S N ratio is around 92 dB Sample A digital snapshot of an audio waveform at a particular point in time In digital audio a series of numeric samples reproduces an entire waveform with higher sample rates producing increased frequency response Note that musical samplers use the term sample to describe a digital recording rather than a digital snapshot Sample rate The number of samples per second Higher sample rates produce increased frequency response but require more disk space To reproduce a given audio frequency the sample rate must be at least double that frequency See Nyquist Frequency on page 284 Sampler A musical device that records and plays digital sounds known as samples in this context and lets you edit and store those sounds Sequencer A programmable electronic device that can record and play a sequence of musical events such as samples pitches and rests Most modern sequencers are MIDI based See MIDI on page 282 Session A multitrack project in Adobe Audition Session files are stored with the extension ses and contain details such as mixing and effects settings Session files don t contain audio data instead they contain pathnames pointing to the sound files used in the session 64 bit Doubles See 64 bit doubles RAW dbl on page 232 SMPTE timecode Society of Motion Picture and Television Engineers timecode A timing reference
277. ound card If your session includes higher bit rate files and if your sound card supports it you can select a higher rate to the preview your session more accurately 4 Set the Preview Buffer Size for the buffers used for Play Track and Play All Larger buffer sizes enable a more stable preview playback but increase the latency that is makes it take longer to play the result of changes made while previewing If dropouts occur when you preview the audio try increasing the buffer size Exporting surround sound files 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 Format Options field in the Multichannel Export Options dialog box indicates the currently selected format The format is retained from your last used export option Note To export and encode your project to a 6 channel WMA file you must have Windows Media 9 runtime installed it is installed by default as part of the Adobe Audition instal lation If you have an earlier version installed the Encode to WMA9 option will not be available The latest Windows Media Updates are available on the Microsoft Web site 224 CHAPTER 10 Creating Surround Sound 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
278. our working style To customize shortcuts or trigger commands with a MIDI keyboard use the Keyboard Shortcuts amp MIDI Triggers command See Using shortcuts on page 12 Note Adobe Audition displays most default keyboard shortcuts in menu commands and tool tips The user guide and Help list only shortcuts that Adobe Audition doesn t display Keys for playing audio Space Toggle between Play and Stop Ctrl Space Toggle between Record and Pause Ctrl Shift Space Toggle between Play All and Pause Alt O Play postroll Alt R Play preroll and postroll skip selection Alt E Play preroll and selection Home Move the current time indicator to the beginning of the waveform or session End Move the current time indicator to the end of the waveform or session Page Up Move the current time indicator one page to the left Page Down Move the current time indicator one page to the right Left Arrow Move the current time indicator to the left Right Arrow Move the current time indicator to the right 264 Keyboard Shortcuts Keys for selecting ranges channels and tracks Up Arrow Select the left channel or next higher track Down Arrow Select the right channel or next lower track 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 p
279. page 57 Important You need to have enough space available in these folders to accommodate the total size of all 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 Specifies Adobe Auditions main temporary folder Ideally it should be on your fastest hard drive e Secondary Temp Specifies Adobe Audition s secondary temporary folder For best results this should be on a different physical hard drive than the primary temp folder This is especially true when recording more than one track at a time in Multitrack View because odd track recordings go to one temp folder while the even tracks are recorded to the other temp folder dividing the workload Note Providing 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 Specifies options for Adobe Audition s Undo feature which lets you revert back to your last edit with a keyboard shortcut Ctrl Z menu command or toolbar button e Enable Undo Activates the Undo function Because Undo requires extra disk space for its temporary files and time to save them before processing you may sometimes want to turn this feature off Levels minimum Specifies the fewest number of Undo levels e Purge Undo Deletes all of Adobe
280. parate right and left channels This setting is usually best for music recordings Because stereo waveforms contain twice as much data as mono waveforms they consume twice as much storage space 4 Select a resolution and click OK e 8 bit creates a waveform where quality is not much of a concern but small file size is 8 bit waveforms are usually fine for telephony applications or for embedded sounds in Web pages Although they tend to be noisier than their 16 bit counterparts they re half the size ADOBE AUDITION 1 5 85 User Guide e 16 bit produces a CD quality waveform This setting is suitable for most broadcast and music recordings e 32 bit creates a waveform that supports the most precise audio processing and 32 bit is the recommended resolution for editing files in Adobe Audition After you edit a file you can downsample it to 16 or 8 bit for output and achieve better results than if you edit an 8 or a 16 bit file See Changing the bit depth on page 113 Note Older sound cards might not be able to play 32 bit files properly To check the capabil ities of your sound card choose Options gt Device Properties If your sound card doesn t support 32 bit files you can limit playback to 16 bits while retaining the 32 bit depth inter nally See Setting properties for audio output devices on page 37 Viewing waveforms The waveform display in Edit View shows you a visual representation of a waveform By defaul
281. pecific audio clips to a new file that opens in Edit View an empty track in the current session or a track in a CD project You can also mix down entire sessions exporting them in a variety of formats See Saving and exporting sessions on page 228 Mixing down specific audio clips to an empty track To mix down ReWire tracks and specific audio clips 1 Select any audio clips you want to mix down 2 Select the range you want to mix down If you want to mix down complete clips you can skip step 2 if the session doesn t contain ReWire tracks 3 From the Edit menu choose Mix Down To File Mix Down To Empty Track or Mix Down To CD Project and then choose one of the following All Audio Clips to mix down ReWire tracks and all audio clips Selected Audio Clips to mix down ReWire tracks and selected audio clips All Audio Clips Mono to mix down ReWire tracks and all audio clips in mono Selected Audio Clips Mono to mix down ReWire tracks and selected audio clips in mono 197 Chapter 8 Using Loops oops let you use one sound file in a variety of compositions each with a different tempo and key About loops Loop based song creation has recently cropped up in nearly all musical circles From best selling pop rap and hip hop songs to the alternative adult contemporary and jazz realms using loops even as basic rhythm tracks is a very appealing and modern technique for making music With Adobe Audition you
282. play the entire play list select the first item in the list and click Play in the Play List window e To play part of the list select the first item you want to play and click Play in the Play List window e To playa specific item in the list select that item and click Autocue in the Play List window To change the order of items in a play list 1 Select the item you want to move 2 Click Move Up or Move Down To set up looping for an item in a play list Select the item and enter a number in the Loop text box Each item in the play list can loop a different number of times To delete items from a play list Select the items you want to delete and click Remove in the Play List window Creating and deleting silence Adobe Audition provides several ways to create silence in and delete silence from a waveform Creating silence is useful for inserting pauses and removing nonessential noise from an audio file Removing silence is useful for cleaning up voice prompts and speeding up narratives without affecting the foreground audio Creating silence Adobe Audition provides two ways to create silence in a waveform by muting part of the existing waveform or by inserting a new duration of silence 104 CHAPTER 4 Editing Audio To mute existing audio data 1 Select the desired range of audio data 2 Choose Effects gt Silence Unlike deleting or cutting a selection which splices the surrounding material together apply
283. ple tracks hold down Ctrl and press their Solo buttons To mute a track In the track controls click the Mute button Ml Specifying track input and output devices Using the In and Out buttons in the track controls you can specify input and output devices for each track The text on these buttons changes to reflect the device you specify When you specify an output device you can specify either a hardware output or a bus output Bus outputs let you create submixes of selected tracks for example drum tracks which you can then route to a hardware output See Using the Bus Mixer on page 193 On the EQ tab of the track controls the In and Out buttons are hidden by default To reveal these buttons increase the width of the track controls by dragging the right border To specify an input device for a track 1 In the track controls click the In button 2 From the Device Type menu choose the device type 3 From the list box select the input device 4 In the Input Options section specify the channel and bit depth To apply these input options to all tracks select Same For All Tracks To specify an output device for a track 1 In the track controls click the Out button 2 Select a hardware output from the Devices list or a bus output from the Busses list 182 CHAPTER 7 Mixing Multitrack Sessions The list of devices is determined by the devices you designate in the Device Order dialog box See Designatin
284. pplications interpret non audio information incorrectly and place an unpleasant burst of noise at the beginning of each track 5 Click Save Saving and exporting sessions When you edit a session in Multitrack View it s a good practice to save the session file frequently After you create a mix you can export the session to a variety of audio and video formats Saving sessions The most important thing to remember about session ses files in Adobe Audition is that they contain no audio data themselves Instead a session file is a small file that points to other audio files on your hard drive The session file keeps track of where the audio files are stored on the hard drive each file s location and duration within the session what envelopes and effects are applied to the tracks and so on A session file is useless without the audio files that it points to so it s important to keep your files organized The best way to stay organized is to keep all session related files in the same folder Adobe Audition makes organizing files easy by providing an option to save a copy of every file used in a session into the same folder as the session file This option ensures that all files for a session are in one place ADOBE AUDITION 1 5 229 User Guide To save a session 1 Do one of the following e Choose File gt Save Session to save changes to the current session file Alternatively click the Save button in the Multitrack File
285. pposite of a compressor For example an expander can be used to lower the level of background noise that becomes audible when a musician stops playing F Fast Fourier Transform FFT An algorithm based on Fourier Theory that Adobe Audition uses for filtering Spectral View and Frequency Analysis features Fourier Theory states that any waveform consists of an infinite sum of sin and cos functions allowing frequency and amplitude to be quickly analyzed Higher FFT sizes create more precise results but take longer to process Flange An audio effect caused by mixing a varying short delay in roughly equal proportion to the original signal ADOBE AUDITION 1 5 281 User Guide 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 Frequency Measured in Hertz Hz cycles per second frequency describes the rate at which a sound wave vibrates 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 high frequency equals high pitch and low frequency equals low pitch FX An abbreviation for effects H Hertz Hz Cycl
286. 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 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 balance 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 Center LFE Stereo When selected for a stereo track this option routes the track s left channel signal to the Center channel and the track s right channel signal to the LFE subwoofer channel discretely If this option is selected for a track containing a Mono source file the same signal is sent equally to both the Center and LFE channels Note that this option is most useful with a stereo source file Center Only Mono FL Only Mono FR Only Mono Ls Only Mono Rs Only Mono Sums the selected track s audio to a mono signal and sends 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 Using the Surround Panner The Surround Panner is an interactive control representing the audio field You drag the Panner Point white dot to change the perceived
287. r example you can add the Flanger effect to the source file in Edit View and automatically apply the effect to all 30 referenced copies in a session Unique copies have a separate audio file on disk allowing for separate editing of each version in Edit View For example you can add destructive effects to the version in an introduction while leaving the version in a verse dry To copy a clip 1 Click the Move Copy Clip tool in the toolbar N Right click and drag the clip w Release the mouse button and choose either of the following from the pop up menu Copy Reference Here Copy Unique Here If you prefer copy clips with the Hybrid tool To copy a reference clip hold down Shift and right click drag To copy a unique clip hold down Ctrl and right click drag Repeating audio and MIDI clips With the Clip Duplicate command you can duplicate repetitions of a clip in a track without consuming additional disk space You can also specify the spacing between each repetition 174 CHAPTER 7 Mixing Multitrack Sessions To copy a clip to a different track or to irregular positions in the current track see Copying audio and MIDI clips on page 173 To repeat a clip 1 Select the clip and choose Edit gt Clip Duplicate 2 Set the following options Duplicate Clip Specifies the number of times to duplicate the clip Spacing Determines the spacing between each duplicated clip e No Gaps Continuous Loopin
288. r session as six mono WAV files as one interleaved 6 channel WAV file or as a Windows Media 9 Pro WMA file for use with an external multichannel encoder such as a Dolby or DTS encoder 214 CHAPTER 10 Creating Surround Sound Using the Multichannel Encoder The Multichannel Encoder dialog box contains several options and controls that let you select tracks and bus outputs precisely pan audio and adjust volume levels zoom the waveform display and preview the project To achieve proper 5 1 surround sound preview playback from the Multichannel Encoder you need a sound card that offers at least 6 channel analog output a special interleaved driver that s compatible with the Microsoft DirectSound multichannel format and Microsoft DirectX 8 0 or later Direct X 8 0 is installed by default as part of the Adobe Audition installation updates are available from the Microsoft Web site If your system does not meet these requirements you may receive a warning message and your Play Track and Play All buttons will not be accessible A B C Track List Surround Panner Track Options x o Panning Assignment X Track2 1 x Surround panner stereo source v X Track 3 E Track Sub Channel Level X Track qe Ot X Track 6 50 100 Center Channel Level eigen ae ene ee 3 0 50 100 Track Level PE PE E E Gre 7 100 0 50 1 IV Pan Envelopes I Splines Clear All ODO 20700 CD00 30 00 00 00 12 22 Prev
289. r window expand Time Pitch and double click Pitch Bender 3 Set the desired options For more information search for Pitch Bender options in Help 146 CHAPTER 6 Applying Stereo Pitch and Delay Effects Using the Pitch Correction effect Edit View only The Pitch Correction effect provides two ways to make pitch adjustments for vocals or solo instrumentation Automatic mode analyzes the audio content and automatically corrects the pitch based on the key you define without your having to analyze each note Manual mode creates a pitch profile that you can adjust note by note You can even over correct vocals to create robotic sounding effects The Pitch Correction effect detects the pitch of the source audio and measures the periodic cycle of the waveform to determine its pitch The effect can be used on audio that contains a periodic signal that is audio with one note at a time such as for a saxophone violin or vocals Nonperiodic audio or periodic audio with a high noise floor can disrupt the effect s ability to detect the incoming pitch resulting in incomplete pitch correction To use the Pitch Correction effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Time Pitch and double click Pitch Correction 3 Click the Automatic or Manual tab and set the desired options For more information search for Pitch Correct options in Automatic Correction Mode or
290. rack controls C Toolbar D Horizontal scroll bar E Track F Load Meter G Mix Gauge Creating new sessions When you create a new session you specify its sample rate See About sample rates on page 110 Any files added to the session must share this sample rate If you try to import a file with a different sample rate Adobe Audition lets you convert it You can base new sessions on the default session borrowing default settings such as device assignments and master volume levels ADOBE AUDITION 1 5 163 User Guide To convert the sample rate of an existing session use the Save Session As command and save converted copies of all referenced files See Saving sessions on page 228 To create a new session 1 Choose File gt New Session 2 Select the desired sample rate 3 If you want to base the new session on the default session select Use Default Session This option appears only if you ve set a default session 4 Click OK Setting the default session After you set a default session it opens when you start Adobe Audition The default can also serve as a template for new sessions letting you share settings such as device assign ments and master volume levels across multiple sessions To set the current session as the default 1 Choose File gt Default Session gt Set Current Session As Default 2 Ifthe session contains clips click Yes To create a new session that uses the default session as a templ
291. rate the receptors in our ears and we hear the vibrations as sound When you see a visual waveform that represents audio that waveform represents these pressure waves The zero line in the waveform is the pressure of air at rest When the line swings up it represents higher pressure and when it swings low it represents lower pressure This waveform is the equivalent of the pressure waves in the air A sound wave represented as a visual waveform A Zero line B Low pressure area C High pressure area 268 Digital Audio Primer Waveforms Amplitude reflects the change in pressure from the peak of the waveform to the trough Cycle describes the amount of time it takes a waveform to return to the same amplitude level Frequency describes the number of cycles per second where one Hertz Hz equals one cycle per second That is a waveform at 1000 Hz goes through 1000 cycles every second Phase measures how far through a cycle a waveform is There are 360 degrees in a single cycle if you start measuring at the zero line a cycle reaches 90 degrees at the peak 180 degrees when it crosses the zero line 270 degrees at the trough and 360 degrees when it completes at zero Wavelength is the distance measured in units such as inches or centi meters between two points with the same degree of phase A single cycle at left a 20 Hz waveform at right A Wavelength B Degree of phase C Amplitude D One second When two or more sound waves
292. ready entered for the audio clip proper values for Repeat Every X Seconds and Repeat Every X Beats are entered automatically so that the audio clip loops continuously at the proper tempo If you change the Repeat Every X Beats value Adobe Audition stretches the file to finish its loop in the specified number of beats However you ll generally want to select Repeat Every X Beats and enter the number of beats in the Source Waveform Information area Follow Session Tempo Plays the loop at the session s tempo instead of its native tempo For example if you play a 100 bpm loop in a 120 bpm session the loop is stretched to 120 bpm Selecting this option disables the BPM text box If you don t select this option the loop plays at the tempo specified in the BPM text box Lock Position To Tempo Locks the left edge of the audio clip to the bar beat If you change tempo the audio clip moves so that it starts at the same beat Normally you should select this option if you stretch to tempo In addition you can select this option for a one shot clip that s not a loop like a thunder clap or a gong if you want it to start in time with other music that s aligned to the session s tempo Source Waveform Information Specifies settings for the source waveform See Setting permanent loop properties in Edit View on page 200 Tempo Matching Specifies settings for matching the tempo of the loop to the rest of the sound file you re working with
293. rect out of phase channels or create interesting phasing effects For more infor mation on phase see the Glossary The Reverse effect reverses the order of a waveform s samples so that they play backwards Reversing is useful for creating special effects To invert a waveform 1 Ifyou want to invert part of a waveform select the desired range Otherwise deselect all audio data to invert the entire waveform 2 Choose Effects gt Invert To reverse a waveform 1 Ifyou want to reverse part of the waveform select the desired range Otherwise deselect all audio data to reverse the entire waveform 2 Choose Effects gt Reverse Generating audio Adobe Audition provides several commands that let you generate new audio data These commands are different from effects in that they insert new sounds into a waveform rather than alter existing sounds Generating DTMF signals Dual Tone Multi Frequency DTMF signals also know as touch tones are used for dialing telephone numbers over phone lines that are capable of responding to touch tone signals These signals are recommended internationally by the International Telegraph and Telephone Consultative Committee as the signals for push button telephones Keep in mind that the DTMF signals generated by telephone push button keypads are different from the Multi Frequency MF tones generated by the telephone network to transmit information You can use the DTMF Signals command to genera
294. 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 adjust the buffer size Choppiness in multitrack playback can also be attributed to the background mixing process not being far enough ahead A larger buffer size requires more computer memory The default setting is 1 Playback Buffers Specifies 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 this number might also be helpful for some configurations The default setting is 10 Recording Buffer Size Reserves memory for recording in a multitrack session by entering a buffer size in seconds Different sound card drivers may 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 larger buffer size requires more computer memory The default setting is 2 seconds Recording Buffers Specifies the number of buffers used for recording in the multitrack environment If you experience break ups in your audio try reducing the number
295. riate text boxes If these values don t do the job for example words or phrases get chopped off lower VE the signal level values Increase the signal level values if not enough silence is removed To trim silence from the beginning and ending of a file Choose Edit gt Auto Cue gt Trim Digital Silence If you select the middle of a waveform this command functions like the normal Trim command trimming out everything else in addition to any digital silence in the highlighted range at the endpoints Creating play lists A play list is an arrangement of cue ranges that you can play back in any order and loop a specified number of times The advantage of using a play list is that you can try different versions of an arrangement before you commit to the edits You create play lists in the Play List window To display the Play List window Choose Window gt Play List Alternatively click the Hide Show Play List button Bi in the toolbar To create a play list 1 Ifthe Cue List window isn t visible click Show Cue List in the Play List window 2 In the Cue List window select the cue ranges you want to add to the play list See Defining and selecting cues on page 96 3 Click Insert Cues in the Play List window The selection is inserted either before the currently selected item or at the end if nothing is selected ADOBE AUDITION 1 5 103 User Guide To play items in a play list Do one of the following e To
296. ront 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 See Automating mixes with clip envelopes on page 188 ADOBE AUDITION 1 5 219 User Guide If you prefer to keep your track panned to a fixed point throughout the duration session deselect Pan Envelopes Deselecting this option removes the envelopes from the waveform display and lets you set the Panner Point to any static position you want You can toggle the Pan Envelopes setting on and off and any envelope points you have created for this track are retained Note that if Pan Envelopes is not selected you can drag the Panner Point during playback and hear your static pan positioning in real time O00 60 00 Pan Envelope Automation To create a dynamic pan on a track 1 In the Multichannel Encoder dialog box select the box for a track in the Track List 2 From the Panning Assignment menu choose either Surround Panner Stereo Source or Surround Panner Summed To Mono 3 Select Pan Envelopes located above the right side of the waveform display Two envelope lines appear in the waveform display Because the yellow line starts on top of the green line you may see only the yellow line until you change the pan position 4 Click in the waveform display where you want to set a pan destination for the sound source Th
297. rsor Across Windows command to retain the position of the current time indicator between files This command is useful if you switch between different versions of the same waveform during editing In Multitrack View you can use the Synchronize Clips With Edit View command to maintain the position of the current time indicator when you switch between Multitrack View and Edit View ADOBE AUDITION 1 5 69 User Guide Edit View Mulitack View Current time indicator To set the current time indicator Do one of the following in the display window e Click exactly where you want to set the current time e Position the pointer over the triangle above or below the current time indicator This triangle is the current time indicator s handle Drag the handle to the desired position in the timeline After you set the current time indicator you can save it as a cue for later reference For more information see Working with cues on page 96 To synchronize the current time indicator between waveforms In Edit View choose Options gt Synchronize Cursor Across Windows To synchronize the current time indicator between Multitrack View and Edit View In Multitrack View choose Options gt Synchronize Clips With Edit View Monitoring time Adobe Audition provides several features to help you monitor time during recording and playback The playback cursor a vertical white line that appears in the display window shows you
298. rt SMPTE timecode to MTC to synchronize Adobe Audition s transport controls with a video or audio tape deck MIDI Trigger An Adobe Audition shortcut triggered by a MIDI event such as Note On You can send MIDI events to any device capable of issuing a MIDI command such as MIDI keyboards and sequencers Millisecond ms One thousandth of a second There are 1000 milliseconds in a second ADOBE AUDITION 1 5 283 User Guide Miniplug A common name for 1 8 inch plugs and jacks sometimes known as minijacks On the most common sound cards miniplug jacks provide analog audio inputs and outputs Mixdown The process of combining the output of several tracks in Multitrack View to create a new stereo waveform When you mix down track properties such as Volume and Pan are reflected in the resulting waveform so mixdown is typically performed when youre happy with the sound of a session A mixdown can also produce submixes of selected tracks For example you could create a submix of multiple drum tracks and place it on a single open track cleaning up the Multitrack View workspace Mixing The process of combining multiple audio sources or tracks together for output as a single source Output is generally in the form of a stereo pair of channels though mixes may be directed to any number of channels for output for example one channel for monophonic output or 6 channels for surround sound output Mix Gauge Found below the track controls are
299. rt of the script Note Don t open or save a file as part of the actions for the script since these actions are specific to a particular file If you make a mistake return to the Scripts dialog box click Stop Current Script click Clear and start over ADOBE AUDITION 1 5 251 User Guide 7 After you record the script choose Options gt Scripts 8 Click Stop Current Script 9 Type a description for the script in the text area of the dialog box The description appears when the script is selected Note You can add or edit a description later by clicking Edit Script File 10 Click Add to Collection The script appears in the list at the left Running scripts After you create a script you can run it on a file an entire waveform or part of a waveform depending on the script type To run a single script on a batch of files use the Batch Processing command To run a script 1 Set up Adobe Audition to match the starting point of the script For example if you want to run a script intended for a waveform open a file and select a waveform If you want to run a script that starts from scratch close all open waveforms 2 Switch to Edit View and choose Options gt Scripts The Script Collections area displays the name of the currently opened script collection If the collection hasn t been named the name New Collection appears 3 Ifthe script collection you want isn t open click Open New Collection Navigate to the
300. s by greatly reducing the time it takes to draw the waveform especially with larger files e Peaks Cache Determines the number of samples per block to be used when storing peak files Larger values 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 youre working with very large files several hundred megabytes or more in size consider increasing the Peaks Cache to 1024 or even 1536 or 2048 e Save Peak Cache Files Specifies that peak files are saved with all wav files in the same folder with the extension pk following the original audio filename e Rebuild Wave Display Now Click to rescan the current file for sample amplitudes and redraw the waveform Data options The Data tab in the Settings dialog box provides options for controlling how Adobe Audition handles audio data Embed Project Link Data For Edit Original Functionality Links session files with exported mixdown files Once these files are linked you can select a mixdown file in Adobe Premiere Pro or After Effects and then open and remix the related session in Adobe Audition s Multitrack View Auto Convert All Data To 32 Bit Upon Opening Converts all 8 bit and 16 bit data to 32 bit when a file is opened and all subsequent operations will keep the data in the 32 bit realm Interpret 32 Bit PCM wav Files As 16 8 Float Causes this version of Adobe Audition to be compatible w
301. s or limit it To use the Envelope Follower effect 1 In Multitrack View position the wave clips so that the sections you want to process together are aligned 2 Select the Hybrid tool or the Time Selection tool I 3 In the track display select the range you want to process 4 Ctrl click the wave clips you want to process Note If you select a range by dragging across a clip that clip is selected by default if you Ctrl click the clip you deselect it 5 In the Effects tab of the Organizer window expand Multitrack and double click Envelope Follower 6 Set the desired options For more information search for Envelope Follower options in Help Using the Frequency Band Splitter effect Multitrack View only The Frequency Band Splitter lets you take a selected waveform clip or a highlighted section thereof and make up to eight copies of it with each copy assuming a different frequency range of the original Split points are determined by the crossover frequencies you specify Each copy of the waveform is placed in its own track in the session window You can then edit or apply effects to each band separately 158 CHAPTER 6 Applying Stereo Pitch and Delay Effects For example using the default setting of three bands with crossover values of 800 and 3200 creates three copies of the selected waveform one with the frequencies of the selected wave from 0 to 800 Hz one from 800 to 3200 Hz and one from 3200 to 2205
302. s beat cues in the cue list To customize Auto Cue settings 1 Choose Edit gt Auto Cue gt Auto Cue Settings 2 Adjust the following options and click OK e Audio Will Be Considered Silence When specifies parameters for finding silence In the Signal Is Below text box enter the amplitude value in decibels you want Adobe Audition to consider as the maximum level for silence In the For More Than text box enter the duration in milliseconds of this maximum amplitude value For very quiet high quality audio enter a lower amplitude value such as 60 dB For noisier audio the value might be much higher such as 30 dB Enter a longer duration to keep groups of words together for example e Audio Will Be Considered As Valid When specifies parameters for determining if audio is valid In the Signal Is Above text box enter the amplitude value in decibels you want Adobe Audition to consider as the minimum level for audio In the For More Than text box enter the duration in milliseconds of this minimum amplitude Enter a longer duration to ignore short periods of undesired audio like clicks static or other noise However if the value is too high above 200 milliseconds short words may be skipped 102 CHAPTER 4 Editing Audio e Find Levels scans the waveform or a selected range to have Adobe Audition automat ically determine a good starting point for signal levels Suggested values appear in the approp
303. s format can contain information for looping and silence If a file contains loops and silence blocks they expand when you open the file Options Choose one of the following e Old Style saves audio as an 8 bit voc file that can be played on any Sound Blaster card e New Style saves audio to the newer format that supports both 8 and 16 bit audio Dialogic ADPCM vox The Dialogic ADPCM format is used in telephony applications and it s optimized for low sample rate voice It supports only mono 16 bit audio and like other ADPCM formats it compresses the audio data to 4 bits sample 4 1 This format has no header so Adobe Audition assumes any vox file is in Dialogic ADPCM format Note Take note of the sample rate of the audio before saving it as you need to enter it upon reopening the file DiamondWare Digitized dwd This format is used by DiamondWare Sound Toolkit a programmer s library that lets you quickly and easily add high quality interactive audio to games and multimedia applica tions It supports both mono and stereo files at a variety of resolutions and sample rates 236 CHAPTER 11 Saving Exporting and Closing Files DVI IMA ADPCM wav The International Multimedia Association IMA flavor of ADPCM compresses 16 bit data to 4 bits sample 4 1 by using a different faster method than Microsoft ADPCM It has different distortion characteristics which can produce either better or worse results depending o
304. s isn t selected 3 To adjust the sound card s record input level choose Options gt Properties in Volume Control Select Recording and click OK Be sure that the input source you want to use is selected and adjust other sliders on the Windows mixer as needed To quickly access the Record section of the Windows mixer choose Options gt Windows Recording Mixer in Adobe Audition 83 Chapter 4 Editing Audio dobe Audition provides a powerful and easy to use interface for preforming a A variety of editing tasks such as copying pasting and deleting adding and removing silence generating noise and tones changing the sample type and adding information to audio files About editing audio When you open an audio file in Edit View you see the waveform display a visual represen tation of the sound wave or waveform If you open a stereo file the waveform for the left channel appears at the top and the waveform for the right channel appears at the bottom If you opena mono file the waveform utilizes the total height of the waveform display The peaks and valleys in the waveform represent positive and negative air pressure Quiet audio has both lower peaks and lower valleys than loud audio For background information on working with digital audio see Sound fundamentals on page 267 Edit View Multitrack View CD Project View Stereo waveform in Edit View 84 CHAPTER 4 Editing Audio Many editing t
305. s most commonly used for tonal instruments like piano bass and guitar e Resample Affects Pitch resamples the loop to match the session s tempo affecting the pitch High Medium and Low Quality options are available This method is commonly used in R amp B and hip hop tracks primarily because you can achieve exaggerated stretching and compressing of files If loops set to Resample are time stretched their pitch changes This setting is most commonly used on drum tracks to create a lo fi dirty phat kind of sound It can also work well on voice and voiceovers if you re trying to change the sound and timbre of a speaker s voice User Guide 201 202 CHAPTER 8 Using Loops e Beat Splice loops the file based on beats detected in it similarly to the Find Beats And Mark command See Defining loops on page 198 This setting works only on loops that have very sharp and short sounds like drum tracks If the waveform already has beat markers you can select Use File s Beat Marks to use them Otherwise Auto Find Beats is selected If necessary you can change the corresponding default values of 10 dB and 9 milliseconds to find the beat e Hybrid uses the current Time Scale Stretch settings if you lower the bpm beats per minute and it uses the current Beat Splice settings if you raise the bpm Setting impermanent loop properties in Multitrack View Loop properties that you set in Multitrack View are saved with the ses
306. s of ADPCM such as the IMA Interactive Multimedia Association DVI standard and versions from Microsoft Dialogic and others ActiveMovie See DirectX on page 279 Adapter A cable plug or jack that enables you to connect two audio or video devices together ADAT A digital 8 track tape deck manufactured by Alesis Corporation that is very popular in recording studios Aliasing Noise that occurs when a high frequency sound exceeds the Nyquist Frequency for a given sample rate See Nyquist Frequency on page 284 Most analog to digital converters prevent aliasing by filtering out sounds above the Nyquist Frequency Amplitude Amplitude represents the loudness of an audio signal A waveform s amplitude is measured by its distance from the center line which represents an amplitude of 0 There are different standards for measuring amplitude but the decibel dB is the most common See Decibel dB on page 279 Analog recording Traditional audio recording with devices such as magnetic tape machines and vinyl records Analog audio recording consists of a continuous curve as opposed to digital recording which consists of discrete samples ASCII text data You can represent audio data in this standard text format txt with each sample separated by a carriage return and channels separated by a tab character Before the audio data you can add a header with a format of Keyword Value with the keywords Samples BitsPerSamp
307. s so closely together that you cannot discern them as separate echoes However they give an impression of space With Adobe Audition you can customize the reverb and replicate a variety of room environments For the most precise control of an effects mix in Multitrack View set real time reverbs to 0 Original and 100 Reverb Then use the effects mixer to control the ratio of dry to reverberant sound Using the Full Reverb effect Full Reverb like the standard Reverb effect simulates acoustic space It s also convolution impulse based like standard Reverb meaning no ringing metallic or other artificial sounding artifacts are present However specific resonance can be achieved if desired The Full Reverb effect has some unique features such as Perception which simulates 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 or other sound affecting factors can be simulated by changing the reverb s frequency absorption by using a three band parametric EQ style interface in the Coloration tab ADOBE AUDITION 1 5 151 User Guide Note Because the Full Reverb effect can take longer to process than the other effects it may not be the best choice for using in real time in Multitrack View If you use the Full Reverb effect on a tra
308. sample defined 287 sampler defined 287 SampleVision format 238 sampling rate fundamentals of 270 saving audio files 227 mixdowns to audio 229 mixdowns to video 230 sessions 228 Scientific Filters effect 133 scp files 248 script collection scp files 248 Script tab in Favorites dialog box 255 scripts about 243 working with 249 Scripts command 250 scrolling about 19 preferences in Edit View 44 preferences in Multitrack View 57 Select All Tracks command 259 Select Entire Wave command 88 selecting audio 87 Selection View Controls 20 separator bars 254 sequencer defined 287 Session Properties command 204 sessions about 161 converting the sample rate 229 creating 162 default session 163 defined 287 deleting time in 163 inserting clips 63 inserting time in 163 linking to Adobe Premiere Pro or After Effects 207 opening 63 recording into 73 saving 228 using as SMPTE masters or slaves 166 Set Current Clipboard command 92 setting up Adobe Audition 35 Settings command 43 shortcuts 12 Show View Tabs command 11 showing and hiding toolbars 13 Transport Controls 71 view tabs 11 windows 15 shrinking audio 146 177 silence deleting 104 generating 103 64 bit doubles RAW format 232 slip editing clips 170 smoothing edit boundaries 52 SMP format 238 SMPTE defined 287 monitoring synchronization 22 using sessions as masters or slaves 166 SMPTE Master Enable command 16
309. se the Cut command you can simply press Ctrl X to cut the selected portion of a waveform When available the keyboard shortcut appears to the right of the command name in the menu or in the tool tip for a button or icon Adobe Audition also provides keyboard shortcuts for performing certain mouse actions These shortcuts are listed in the Keyboard Shortcuts appendix If a shortcut isn t working it s likely that the window youre trying to run the shortcut in doesn t have focus For example if youre in Edit View and you push F11 to bring up the Convert Sample Type dialog box and nothing happens the waveform display probably isnt the active window Click the waveform display to give it focus and then try the shortcut again You can change nearly all of the default shortcuts and add shortcuts for other functions In addition you can add shortcuts that let you execute commands using keys on 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 For example you can assign the Play command in Adobe Audition to the C4 note on your MIDI keyboard To enable MIDI triggering Choose Options gt MIDI Trigger Enable A check mark indicates the MIDI triggering is on Important Before attempting to enable MIDI triggering you must choose a device for MIDI In that s recognized by Windows For more information see Designating which devices you want to use
310. sessions store only changes made in Adobe Audition be sure to also save any changes made in the ReWire slave application When you synchronize via ReWire you link the transport controls and timeline of Adobe Audition and the ReWire slave application For example if you click the play button in the slave application Adobe Audition plays the linked session sending the audio through the outputs specified in the Device Properties dialog box See Setting properties for audio output devices on page 37 You can also however preview individual modules in the slave application to hear them independently of the Adobe Audition session When you do the modules send audio through the sound card specified in the Sounds and Audio Devices control panel If you notice a timeline offset between Adobe Audition and the slave application lower VE the Playback Buffer Size on the Multitrack tab of the Settings dialog box choose Options gt Settings The default value is 1 but you can enter values as low as 0 1 Because extremely low buffer sizes may cause audio to drop out you may need to try different values to find one that is acceptable To assign a different device to a ReWire track 1 In the track controls click the RW button 2 For Device Type select ReWire 3 Select the device and click OK To convert a ReWire track to an audio track Right click the ReWire track and choose Bounce ADOBE AUDITION 1 5 Working with MIDI tracks
311. set up external controllers 1 Choose Options gt Device Properties and click the Ext Controller tab 2 Select the external controller you want to use and specify a volume increment for the device 3 Click Configure to set additional options for the device These options are provided by the controller software Refer to your controller documentation for more information 4 Click OK Setting up ReWire connections ReWire a product of Propellerhead Software is a technology for synchronizing audio applications You can configure Adobe Audition to accept audio input from any ReWire compatible application When Adobe Audition is configured to accept ReWire input it is referred to as a ReWire host Applications that supply audio input are called ReWire slaves and the output channels they expose to the host are called devices To establish a ReWire connection you first enable ReWire support in Adobe Audition and then activate a ReWire slave application and assign output from the slave to one or more Audition tracks Adobe Audition serves as a ReWire host until you close the application You can also manually disable ReWire support For more information on using Adobe Audition as a ReWire host see Working with ReWire tracks on page 184 Note Before enabling ReWire in Adobe Audition you must close all other ReWire host and slave applications After activating a slave application from within Adobe Audition you will launch the applicati
312. sion and arent permanent but they override any permanent loop properties you ve set in Edit View See Setting permanent loop properties in Edit View on page 200 By default changes made to a looped audio clip in Multitrack View affect only that clip unless Adjust All Loop Enabled Clips That Use This Wave is selected in the Loop Properties dialog box To set impermanent loop properties in Multitrack View 1 Select an audio clip 2 Choose Edit gt Loop Properties 3 In the Audio Clip Looping dialog box set the following options and click OK Enable Looping Sets the file so that you can loop the audio clip by dragging its right edge Simple Looping No Gaps Makes the audio clip loop continuously with no spaces between looping instances Repeat Every X Seconds Repeats the loop at the number of seconds you specify If loop information is already entered for the audio clip proper values for Repeat Every X Seconds and Repeat Every X Beats are entered automatically so that the audio clip loops continu ously at the proper tempo If you change the Repeat Every X Seconds value Adobe Audition ignores the tempo and stretches the file to finish its loop in the specified number of seconds Normally you should select this option and enter the number of beats in the Source Waveform Information area ADOBE AUDITION 1 5 203 User Guide Repeat Every X Beats Repeats the loop at the number of beats you specify If loop infor mation is al
313. sired options For more information search for Binaural Auto Panner options in Help Using the Channel Mixer effect The Channel Mixer effect alters the left and right balance of a stereo waveform letting you create new stereo mixes by using the existing right and left channels as input sources By recombining and inverting the channels you can create some interesting stereo imaging effects To use the Channel Mixer effect 1 Select a stereo range 2 In the Effects tab of the Organizer window expand Amplitude and double click Channel Mixer 3 Set the desired options For more information search for Channel Mixer options in Help Using the Pan Expand effect The Pan Expand effect lets you shift the center channel of a stereo waveform It also lets you expand or narrow the stereo separation of the left and right channels Center channel panning uses the surround and center channels of a stereo recording where the surround channel is the difference of the two original channels and the center channel is the sum of them You can think of a stereo recording as having four channels left right center and surround and this effect lets you pan these channels around For example pan hard left to get the original center channel to come out the left speaker and the original surround channel to come out the right This type of panning can provide added realism to original stereo recordings ADOBE AUDITION 1 5 141
314. sound source As you move the Panner Point the light blue Power Indicator lines coming from the speakers change length The length of the lines indicates the power balance of your sound source coming from each of the five main channels Additionally a portion of the sphere appears dark blue to indicate the image of the sound field That is when seated in the center of the speakers marked by the crosshairs the blue area indicates where the listener perceives the sound to be coming from 218 CHAPTER 10 Creating Surround Sound 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 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 To use the Surround Panner In the Multichannel Encoder dialog box drag the white Panner Point which represents the location of the audio track in the sound field Automating the pan envelope When you select Pan Envelopes two envelope lines appear in the waveform display The yellow envelope line controls the Left Right balance and the green line controls the F
315. st the transparent value in percentage of a selection 0 is no transparency and 100 is maximum transparency e Invert Select to set the selection colors to the inverse of the nonselected colors Controls Tab Lists the Adobe Audition control elements for which you can change colors Select an item from the list and click the Change Color button to adjust the element s color Select Segmented Progress Bar to make the progress bar segmented instead of solid The progress bar appears when you apply an effect or open or save large waveforms Select White Progress Background to make the background of the progress bar white For Dockable Windows select one of the following options e Use System 3D Color Select to make dockable windows use your system s 3D color This is the color Windows uses to render most windows on your system e Use Darkened System 3D Color Select to make dockable windows use the darkened version of your system s 3D color e Use Specified 3D Color Select to make Adobe Audition s dockable windows use the 3D color you specify To change the 3D color select Dockable Windows 3D Color in the controls list and then click the Change Color button to select a new color 50 CHAPTER 2 Setting up Adobe Audition Display options The Display tab in the Settings dialog box provides options for adjusting Adobe Audition s Spectral View and Waveform View modes Windowing Function Determines the method Adobe Audit
316. such as multiple fades and boosts The top of the Envelope graph represents 100 normal amplification the bottom represents 100 attenuation silence Though the Envelope effect isn t available in Multitrack View you can use real time track envelopes to accomplish the same task See Automating mixes with clip envelopes on page 188 Envelope graph Bell Curve preset To use the Envelope effect 1 In Edit View select an audio range 2 In Effects tab of the Organizer window expand Amplitude and double click Envelope 3 Set the desired options For more information search for Envelope options in Help 136 CHAPTER 5 Enhancing and Restoring Audio Using the Dynamics Processing effect The Dynamics Processing effect varies the output level of a waveform based on its input level You can use this effect to limit or compress dynamic range producing a consistent level of perceived loudness You can also expand or gate the signal so that low level signals are reduced in level increasing perceived dynamic range or eliminating signals with noise that falls below a specific threshold The Dynamics Processing effect can produce subtle changes that you notice only after repeated listening When applying this effect in Edit View use a copy of the original file so you can return to the original audio if necessary W Dynamics Processing graph Classic SoftKnee preset To use the Dynamics Proc
317. t this representation shows the amplitude of a waveform over time However you can view the frequency of a waveform over time by switching to Spectral View You can also control the scale with which Adobe Audition measures the amplitude or frequency of waveforms Switching between Waveform View and Spectral View The waveform display offers two ways to represent audio data Waveform View and Spectral View Edit View Multitrack View CD Project View Edit View Multitrack View CD Project View Waveform View and Spectral View 86 CHAPTER 4 Editing Audio e Waveform View the default displays a waveform as a series of positive and negative peaks The x axis horizontal ruler represents time and the y axis vertical ruler measures spikes or increased amplitude in a waveform e Spectral View displays a waveform by its frequency components where the x axis repre sents time and the y axis vertical ruler measures frequency This view lets you analyze 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 Colors range from dark blue meaning that the frequencies are very low in amplitude to bright yellow meaning that the frequencies are high in amplitude To switch between Waveform View and Spectral View Choose View gt Waveform View or View gt Spectral View Alternatively click the Toggle Betwe
318. t any clip in the group and choose Edit gt Group Clips Alternatively right click any clip in the group and deselect Group Clips To change the color for a group 1 Select any clip in the group and choose Edit gt Group Color Alternatively right click any clip in the group and choose Group Color 2 Select a color and click OK 170 CHAPTER 7 Mixing Multitrack Sessions Aligning clips You can align the left or right edges of multiple clips giving them the same start or end point To align clips 1 Hold down Ctrl and select the clips 2 Choose Edit gt Align Left or Edit gt Align Right Note Because the relative position of grouped clips is fixed you must ungroup them to align them Snapping clips to loop endpoints and other clips Snapping lets you quickly align clips with loops and other clips If snapping is enabled both dragged clips and the current time indicator snap to loop endpoints and clip edges The procedure in this section describes snapping options that are unique to Multitrack View For information about snapping options that Multitrack View shares with Edit View see Snapping on page 91 To set snapping options for clips Choose Edit gt Snapping and choose from the following options Snap To Clips Causes clips to snap to the beginning or end of other clips Snap To Loop Endpoints Causes clips to snap to the beginning or end of loops While you drag a clip a white line appears in
319. t click the Play button or Play To End button and choose Play View Then click the button again to start playback To play an entire file Right click the Play button or Play To End button and choose Play Entire File Then click the button again to start playback To loop audio during playback Do one of the following e To play the currently visible portion of the audio in a continuous loop click the Play Looped button in the Transport Controls window e To loop the entire waveform or session or just the selected range right click the Play Looped button and choose Play Entire or Selection Then click the button again to start playback Note By default the display window scrolls in sync with playback that extends beyond the visible section of a waveform In the General tab of the Settings dialog box you can set options for auto scrolling or you can disable this feature See Setting Adobe Audition preferences on page 43 Using preroll and postroll during playback Edit View only In Edit View you can play back the audio just before and after a selected range This audio is known as preroll and postroll Playing preroll and postroll is useful for fine tuning selec tions and listening to transitions without destroying a selection By default the duration of preroll and postroll is one second however you can adjust this duration to best meet your needs ADOBE AUDITION 1 5 77 User Guide To play a selected ra
320. t conversion needs Use higher values whenever you downsample a high rate to a low rate When upsam pling results from lower values sound almost identical to those from higher values 4 Select Pre Post Filter to prevent false frequencies from being generated at the low end of the audio spectrum Select this option for the best results 5 Click OK Converting between stereo and mono The Convert Sample Type command is the quickest way to convert a mono waveform into a stereo waveform and vice versa You can also copy the waveform at its current volume directly into one channel or the other If you want to place separate waveforms on each channel of a stereo file and mix them at different volume levels you can use the Mix Paste command instead To convert a waveform from mono to stereo or vice versa 1 Choose Edit gt Convert Sample Type Alternatively click the Convert Sample Type button if in the toolbar 2 Select Mono or Stereo 3 Enter percentages for Left Mix and Right Mix e When you convert a waveform from mono to stereo the Left Mix and Right Mix options let you specify the relative amplitude with which the original mono signal is placed into each side of the new stereo signal For example you can place the mono source on the left channel only the right channel only or any balance point in between e When you convert from stereo to mono the Left Mix and Right Mix options let you control the amount of signal from the
321. t incoming timecode Note If you chose the SMPTE Drop time format the offset must compensate for dropped frames For example you must enter 1 00 02 to achieve an offset of 1 00 00 3 Choose Options gt SMPTE Slave Enable Setting advanced session properties In the Advanced Session Properties dialog box you can adjust session specific mixing tempo and metronome settings You can also add session notes which can help you recall details about a session or communicate those details to someone else To set loop related session properties use the Session Properties window See Setting the tempo time signature and key for sessions on page 204 To set advanced session properties 1 Choose View gt Advanced Session Properties 2 Set options as desired and click OK For more information search for Setting advanced session properties in Help 168 CHAPTER 7 Mixing Multitrack Sessions Working with clips When you insert an audio MIDI or video file in Multitrack View the file becomes a clip on the selected track You can easily move clips to different tracks or timeline positions You can also edit clips nondestructively trimming their start and end points crossfading them with other clips and more To work with clips in the track display you can use either the Hybrid tool which lets you move clips and select ranges or the Move Copy Clip and Time Selection tools which separate these tasks Se
322. te MF tones as well ADOBE AUDITION 1 5 107 To generate DTMF signals 1 Place the cursor where you want to insert the signals Or if you want to replace part of the existing waveform select the desired range of audio data 2 Choose Generate gt DTMF Signals 3 Set the following options as desired and click OK Dial String Specifies the phone number for which you want to generate tones You can also enter other characters such as the asterisk and pound symbols as well as the letters A B C and D Entering the pause character see Pause Character in this list inserts a pause of a defined length Tone Time Specifies the milliseconds for which the tones will last The standard time for DTMF tones is 100 milliseconds Break Time Specifies the number of milliseconds of silence between successive tones Pause Time Specifies the length that is assigned to the pause character when it is used in the Dial String text box Pause Character Specifies which character Adobe Audition interprets as a pause DTMF Signals Generates DTMF signals by using combinations of the frequencies 697 Hz 770 Hz 852 Hz 941 Hz and 1209 Hz 1336 Hz 1477 Hz and 1633Hz MF Signals CCITT R1 Generates MF signals tones that are internal to telephone networks using paired combinations of the frequencies 700 Hz 900 Hz 1100 Hz 1300 Hz 1500 Hz and 1700 Hz Custom Specifies the combinations of frequencies to be used in
323. tents Chapter 1 Chapter 2 Learning about Adobe Audition Getting help assis tics bvastin EN ENNA E A NARE 1 Working with Adobe Audition 6 cece cece eee eee een eee 3 What s New in Adobe Audition 1 5 Use integrated tOdls sssesecsas ca ucse dias ad veecedanae eea tan ove 5 Sound your best soiree ticles sheave tala ieet il gees 6 Workefficiently gt ciaacciacatunincianeeneuuaesaseemaaerades 7 Looking at the Work Area Aboutthe workiarea i434 ccnicGaieie ea eee eae ee 9 About using Edit View and Multitrack View 0 eee 10 Switching between views cece cece cece eee eee e ee eneas 11 CHOOSING COMMANAS eacsciscdiscew cadens sas ti EnnEL E EET 12 WsingitoOlbars sasaciaienaedascidecsalve dees EANA TE E EREE a 13 USING WINGOWS ais sire tiaaidinsield daleaelvedisien ais wine AN R aE a 14 Navigating in the display window se essence eee eee 17 Usingithestatusibar ncsetacersaccentaaetbeesuers daantvarase ts 21 Undoing and redoing changes see cece eee eee e eee eee 22 Organizing files and effects 20 ccc cece eee e cece cence eens 24 Working with effects 6 cece cece cence eee e eee eeneee 28 Setting up Adobe Audition About setting up Adobe Audition cece cece e eee 35 S ttiNQiUPCEVICES ocisi dc easdevederebyodaensatebeomedetee s 36 Setting Adobe Audition preferences cece eee eee eee ee 43 Managing temporary files cee eee cece eee e eee teens 57
324. ter the name of the current preset and click OK 3 Click OK when prompted to replace the preset To remove a preset Select the preset and click Del Using 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 By default graphs display straight lines between control points However some graphs provide a Splines or Spline Curves option for generating a curve between control points Using spline curves lets you create smoother transitions between points 30 CHAPTER 1 Looking at the Work Area Graph with straight lines between control points compared to graph with spline curves When you use spline curves the line won t travel directly through the control points x Instead the points control the shape of the 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 To use graph controls Do any of the following 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 the point to bring up the edit box or double click the graph s curve e To move a point on the graph drag it to a new location
325. the level of lower frequencies This behavior helps you to quickly and easily enhance audio tone To change the equalization setting over time use different Initial and Final settings Using this approach you can create many interesting effects such as bass heavy equal ization that gradually changes to flat equalization at the introduction of a song To use the Quick Filter effect 1 In Edit View select an audio range 2 In the Effects tab of the Organizer window expand Filters and double click Quick Filter 3 Set the desired options For more information search for Quick Filter options in Help Using the Scientific Filters effect Edit View only The Scientific Filters effect provides high order IIR Infinite Impulse Response filters for precise band pass notch or high or low pass filtering The most common types of high order filters are available Bustle Butterscotch Chebychev 1 and Chebychev 2 Each type has different characteristics for filter attenuation and the steepness of transition bands at cutoff points Butterworth usually provides the best compromise between quality and precision On the Scientific Filters graph one line shows frequency response measured in decibels and the other line shows 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 selecting Extended Range 134 C
326. the sampling process an incoming analog signal is sampled at discrete time intervals Each interval of analog signal is momentarily observed and thus each repre sents a specific measurable voltage level A mathematical conversion generates a digital series of numbers that represent the signal level at that particular point in time The generated data can be digitally stored or processed The sample rate is the number of samples or snapshots that are taken of an audio signal per second For example a sample rate of 44 100 Hz means that 44 100 samples are taken per second Since sampling is tied directly to the component of time a system s sample rate determines a system s overall bandwidth in other words how many frequencies can be encoded within the audio signal Higher sample rates generally yield a better quality waveform ADOBE AUDITION 1 5 111 User Guide The most common sample rates for digital audio editing are as follows 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 Better than FM Radio Quality standard broadcast rate e 44 100 Hz CD Quality e 48 000 Hz DAT Quality e 96 000 Hz DVD Quality Previewing a different sample rate The Adjust Sample Rate command lets you preview how an audio file will sound at a different sample rate This command doesn t convert the sample rate of the audio file use the Convert Sample Type command to do
327. the specified amount of silence remains Set this value to zero to remove as much silence as possible When shortening speech segments use a setting of 150 milliseconds or so to leave a more realistic natural sounding pause Higher values can lead to an artificial sounding pause Scan For Silence Now Previews the silence to be removed This option reports how much silence will be removed and how many sections of silence were found This option doesn t actually remove silence but it gives you an idea of what to expect with the current settings when you actually choose the Delete Silence command If you have an audio presentation that consists of many cuts separated by silence such UE as a reel of several jingles choose Edit gt Delete Silence to make sure that the duration of silence between each cut is the same For example 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 User Guide 105 106 CHAPTER 4 Editing Audio Inverting and reversing audio The Invert effect simply inverts the waveform s samples making all positive offsets negative and all negative offsets positive Inverting is useful for lining up amplitude curves when creating loops or pasting By inverting one channel of a stereo recording you can also cor
328. the track display when snapping points meet For example if Snap To Clips is selected the white line appears when a clip is aligned with the beginning or end of another clip Editing audio and MIDI clips You can edit audio and MIDI clips to suit the needs of a mix Because Multitrack View is nondestructive clip edits are impermanent you can return to the original unedited clip at any time If you want to permanently edit an audio clip however you can quickly open the source file in Edit View You can edit audio and MIDI clips in many different ways After selecting a range of a clip you can cut out that range or trim the clip to it You can adjust the edited boundaries of a clip revealing or hiding more of it You can also slip edit a clip to move its contents but not its boundaries ADOBE AUDITION 1 5 171 User Guide i a J a Sal Perea aan huu b hi Mell sl Ai all ia Trier Cl ul al cuit ab Uiglesdeot FER igbesdcu2 LiqLeadc01 T Reece LL Using the Adjust Boundaries command to reveal more of a previously edited clip Though the procedures in this section mention toolbar buttons for clip editing commands you can also access these commands from the Edit menu or the clip context menu For example you can choose Edit gt Trim instead of clicking the Trim To Selection button To edit a clip with a selected range 1 In the toolbar click the Time Selection tool 1l or the Hybrid tool 2 Drag across the clip t
329. the window to dock in the previous row if there s room To resize a docked window Drag the window s resize bar Even if the resize bar 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 To reset windows to the default layout select Restore Default Workspace in the General tab of the Settings dialog box See Setting Adobe Audition preferences on page 43 Showing and hiding windows You can free up space in the work area by closing windows when you arent using them and then redisplay the windows as needed The Window menu lists all available windows a check mark indicates that a window is currently showing 16 CHAPTER 1 Looking at the Work Area To hide a window Do one of the following e Choose the window name from the Window menu e Click the button that corresponds to the window name in the View toolbar See Using toolbars on page 13 e For docked windows right click the window s handle and choose Close e For undocked windows click the X button on the window s title bar To show a window Choose the window name from the Window menu or click the window s button in the View toolbar Using placekeeper windows Placekeeper windows let you define the aspect ratio of a docking area For example if you try docking the Track EQ controls above the transport controls they end up going under neath the whole s
330. tics including an RMS histogram and a clipping profile See Under standing statistics on the Analyze Loudness tab on page 245 4 Click the Normalize tab and specify how you want to normalize the waveforms See Setting options on the Normalize tab on page 246 5 Click Run Normalize Understanding statistics on the Analyze Loudness tab When you click Scan For Statistical Information the Analyze Loudness tab displays the following information Eq Loud Is the final loudness value with an equal loudness equalization curve that takes into account frequencies to which the human ear is most sensitive If you select the Use Equal Loudness Contour option in the Normalize tab this value determines how much to amplify the audio to normalize it Loud Is the final loudness value without equal loudness equalization If you don t select the Use Equal Loudness Contour option in the Normalize tab this value determines how much to amplify the audio to normalize it Max Is the maximum RMS Root Mean Square amplitude present This value is based ona full scale sine wave being 0 dB and it conforms to the width specified in the Advanced section of the Normalize tab Avg Is the average RMS of the entire waveform This value isn t used for normalization Clip Is the percentage of the waveform that would be clipped as a result of normal ization Clipping won t occur if limiting in which loud passages are decreased in volume is use
331. tion see Windows PCM wav on page 239 Note Interleaved files reflect the channel order used by Dolby Digital encoders If you plan to use an encoding process with a different channel order export the session as six individual files instead Export And Encode As Windows Media Audio Pro 6 Channel File Creates multichannel WMA files that can be played by anyone who has Windows Media Player 9 or later a multi channel output sound card and a 5 1 speaker setup Media Player 9 requires Windows XP Export and encode as Windows Media Audio Pro 6 channel file Windows Media Audio Options Constant bit rate Fold down to stereo settings F ua 5 Menthe ba rate Show codec formats that most closely C Lossless match the session s sample rate Format options Export options 5 If you select Export And Encode As Windows Media Audio Pro 6 Channel File specify the following Windows Media Audio options e Constant Bit Rate CBR varies the quality level as needed to ensure that the bit rate stays the same This method makes a consistently sized file although the quality may not be as high as with Variable Bit Rate encoding e Variable Bit Rate VBR maintains the audio quality by varying the bit rate depending on the complexity of the audio passage being encoded This method can maintain higher quality audio in the file although the file size is not as predictable as with Constant Bit Rate encoding e Lossless co
332. tion button to zoom in on the right boundary of the actively selected waveform range or session Click the Zoom In To Left Edge Of Selection button Q to zoom in on the left boundary of the actively selected waveform range or session Click the Zoom Out Horizontally button amp to zoom out from the center of the visible waveform window or session Click the Zoom Out Full Both Axis button amp to zoom out to display the entire waveform or blocks that are contained within a session Click the Zoom Out Vertically button to decrease the vertical scale resolution of a waveform s amplitude display in Edit View or to show more tracks in the session display in Multitrack View To zoom in or out by using a scroll bar or ruler Do either of the following To change the viewable range of time position the pointer in the timeline or over the left or right edge of the horizontal scroll bar Then drag to the left or right A magnifying glass with arrows icon Q appears as you drag To change the viewable range of amplitude in Edit View or tracks in Multitrack View hold down the right mouse button in the vertical ruler and drag up or down The magnifying glass with arrows icon appears as you drag ADOBE AUDITION 1 5 19 User Guide You can also use the wheel on your mouse to zoom in and out To do so place the pointer VE over the horizontal scroll bar timeline vertical scroll bar Multitrack View only or vertical ruler and r
333. to preview loops in the tempo and pitch of the current session before adding them to your mix See Previewing audio by using the Organizer window on page 77 Task based documentation Quickly learn how to complete audio production tasks using an updated Help system and user guide organized by subjects such as editing looping and video Chapter 1 Looking at the Work Area elcome to Adobe Audition Adobe Audition gives you an efficient work area and user interface to edit and mix audio files About the work area Adobe Audition is divided into three main work areas Edit View Multitrack View and CD Project View This division is intended to help you focus on the major tasks of editing audio files mixing sessions and burning CDs For more information on the differences between Edit View and Multitrack View see About using Edit View and Multitrack View on page 10 For more information on CD Project View see Using CD Project View on page 257 TES a TechnoFunkWwal Preview Volume Show File Types Sort By dio Siow Goes Roll Paths EENES er EATS as m 1100 Opened Session in 8 34 seconds 44100 32 bit Stereo 232K 105 GB Adobe Audition work area A Edit View tab B Multitrack View tab C CD Project View tab D menus E toolbars F display window G various windows 10 CHAPTER 1 Looking at the Work Area All three views have a similar user interface including the followi
334. to scan the highlighted selection and show all frequencies present in that selection By default Adobe Audition analyzes only the center point of a selected range To analyze VE the overall frequency of a selected range click Scan For more information search for Advanced frequency analysis options in Help ADOBE AUDITION 1 5 121 User Guide Analyzing phase In Edit View you can use the Phase Analysis window to analyze phase either statically for a selected range or dynamically during playback You should analyze phase only for stereo waveforms as phase differences don t exist in mono waveforms Phase analysis can reveal out of phase channels which you can correct with the Invert command See Inverting and reversing audio on page 106 The Phase Analysis window includes a Lissajou Plot graph By default this graph displays phase differences between the left and right channels as follows e A mono waveform appears as a diagonal line ascending from left to right A right channel only waveform appears as a horizontal line e A left channel only waveform appears as a vertical line e A completely out of phase stereo waveform appears as a diagonal line descending from left to right e A typical stereo waveform appears as many wavy lines descending from right to left e A stereo waveform with wide separation appears as many wavy lines extending in all directions To zoom in on a particular area of the Phase Anal
335. tons C Scroll bar 192 CHAPTER 7 Mixing Multitrack Sessions To use the Track Mixer 1 In Multitrack View choose Window gt Mixer 2 Click the Track Mixer tab and set the following options Control display buttons Lets you customize the appearance of the Tracks Mixer Each of the six buttons Out Bus FX EQ Pan and M S displays a different track control e Out shows and hides the Out buttons e Bus shows and hides the Wet and Dry text boxes for buses e FX shows and hides the FX and Lock buttons EQ shows and hides the three equalization text boxes H M L e Pan shows and hides the Pan controls e M S Shows and hides the Mute and Solo buttons Out 1 Opens the Adobe Audition Playback Devices window which lets you assign the output properties for the selected track The button s label changes to reflect the output device for example Device 2 or Bus C Wet and Dry text boxes Control the ratio of processed to original signal that tracks output to buses To change these values either enter a value or drag across the text boxes You can also change these values on the Bus tab of the track controls y To output a track to a bus see Specifying track input and output devices on page 181 FX Opens either the Effects Rack if the 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 or the dialog box for whatever effect is assigned to th
336. toolbar e Choose File gt Save Session As to save changes to a different session file Alternatively click the Save As button in the Multitrack File toolbar e Choose File gt Save All to save all open sessions 2 Choose a location for the file and type a filename 3 Select Save Copies Of All Associated Files to save a copy of every file used in a session into the same folder as the session file It is highly recommended that you select this option If you want to save the associated files in a different format click Options select Save All Copies In This Format and select a format from the list To view options for the selected format click Format Properties For more information on format specific options see Choosing an audio file format on page 231 4 Click Save To convert the sample rate of a session 1 Choose File gt Save Session As choose a location for the file and type a filename 2 Select Save Copies Of All Associated Files and click Options 3 Select Convert Sample Rate and select a sample rate 4 To set dithering and other conversion options click Conversion Properties For more information on conversion options see Converting the sample type on page 110 5 Click Save Exporting mixes to audio After you finish mixing a session you can export it in a variety of common audio file formats When you use the File gt Export gt Audio command everything in the session is exported to an audio
337. tor Record Level command 80 mono waveforms converting to stereo 112 mono defined 283 mouse changing cursor 45 zooming with mouse wheel 45 Move Copy Clip tool 164 168 moving windows 14 mp3Pro format 237 Multichannel Encoder dialog box 213 elements of 214 Pan Envelope automation 218 panning sound 215 Preview Device menu 222 Preview Format menu 223 previewing 221 Multichannel Encoder command 215 multichannel WMA 225 Multitap Delay effect 149 Multitrack View preferences 54 switching to 11 using 10 work area of 162 multitrack only effects 156 Music effect 155 muting audio 103 tracks 181 N navigating in display window 17 new files creating 84 New Session command 162 Next Sun format 238 noise generating 108 noise gate defined 283 Noise Reduction effect 128 noise shaping curve for dithering 38 defined 283 when dithering 114 nondestructive editing defined 283 Normalize effect 137 Normalize tab Group Waveform Normalize dialog box 246 normalizing defined 284 files for CDs 257 groups of files 244 Notch filter effect 131 Nyquist Frequency defined 284 o offline editing defined 284 online Help 3 Open Append command 62 Open As command 62 Open Audio From Video command 208 Open command 61 Open Session command 63 opening files 61 order defined 284 Organizer window 24 out of band peaks working with 246 output devices adjusting playback levels 82 choosing 36 setting pr
338. tracks 1 cece eee cence eee eens 185 Using real time effects 6 cece ccc eee cence eee eee eenes 185 Automating mixes with clip envelopes cece eee eee 188 Using the Mixers window cece cece eee eee eee e eee eee 190 Mixing down ReWire tracks and specific audio clips 196 Using Loops ADOUEIOOPS citsdacilae tases kinne annem nncacndnaeedwes eabeeas 197 Defining loops s deccnescascenoenseshactiesnacwes Medes bens 198 Calculating the tempo of selected ranges eee 199 Setting permanent loop properties in Edit View 200 Setting impermanent loop properties in Multitrack View 202 Setting the tempo time signature and key for sessions 204 Working with loops in the track display eee eee eee eee ee 205 vi CONTENTS Chapter 9 Chapter 10 Chapter 11 Chapter 12 Working with Video About working with Video eee eee eee ene eeee 207 Working with Adobe Premiere Pro and After Effects 207 Importing audio and video from video filles 0065 208 Working with video clips 6 sce eee eee cnet e eee 209 Previewing videO vcnsavesrchecraagincmewnvenemerGeemenneeins 210 Preparing video mixdowns for export cece eee eee eee 211 Creating Surround Sound About surround sound 2 s2s 0 ecosc esac e E ENA 213 Using the Multichannel Encoder eee cece eee ee ee eee 214 Panning tracks and buses for surround sound
339. trols you can reposition them or detach them so they float above the main window See Using windows on page 14 ADOBE AUDITION 1 5 21 User Guide Using the status bar The status bar 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 AmpedModBass084 44100 32 bit Mixing 21 67 MB 1 02914 105 GB free 13 31 35 77 free Alt 00 0 SMPTE A B Cc D E F G H Status bar A Data Under Cursor B Sample Format C File Size D File Size time E Free Space F Free Space time G Keyboard Modifiers H SMPTE Slave Stability To show or hide the status bar Do one of the following e Choose View gt Status Bar gt Show A check mark indicates that the status bar is visible e Click the Hide Show Status Bar button H in the View toolbar See Using toolbars on page 13 To change the type of information that is displayed in the Status Bar Choose View gt Status Bar or right click the Status Bar and select the desired display options Selected items appear in the Status Bar unselected items are hidden You can choose from the following options Data Under Cursor Shows useful information such as the channel if a current waveform is stereo the amplitude measured in decibels and the time hours minutes seconds hundredths of seconds from the beginning of the audio file This data is computed at the precise point wh
340. ts and combine effects as serial or parallel groups By default multiple effects are combined in serial groups in which the signal travels directly from the output of one effect to the input of the next In parallel groups each effect independently receives the dry signal and the effect outputs are mixed at equal levels ADOBE AUDITION 1 5 187 User Guide When you click Serial or Parallel in the FX mixer mix settings automatically change to achieve the results above For serial groups effect inputs are set to 0 of the dry source specified in the Src text box and 100 of the previous effect specified in the Prv text box Likewise all effect output sliders are set to zero except for the final slider which is set to 100 For parallel groups effect inputs are set to 100 of the dry source and 0 of the previous effect while effect output sliders are set to an equal level 33 each for three effects 25 each for four effects and so on Note The first effect in the EX mixer lacks Src and Prv text boxes because no previous effect exists Serial Parallel Rad Setup FX mixer To mix real time effects 1 In the track controls right click the FX button and choose FX Mixer 2 Do any of the following To change the ratio of dry to wet sound that the track outputs move the Dry Out slider and the effects sliders To bypass an effect click Bypass To combine effects in serial or parallel groups click either Serial or P
341. tutorials to technical support information Many files on the Adobe Web site are in Adobe PDF format To view these files use Adobe Reader included on the Adobe Audition CD Getting help There are a number of ways to get the help you need in Adobe Audition The following three tables can help you find specific resources related to Adobe Audition features training resources and support Finding Help for Adobe Audition features If you Try this Want information about installing Adobe Audition e Insert the Adobe Audition application CD into your CD drive and follow the on screen installation instructions You cannot run Adobe Audition from the CD e See the ReadMe file on the application CD Are new to Adobe Audition and want an overview of tools and features e For information about specific tasks see Working with Adobe Audition on page 3 e For information about the user interface see About the work area on page 9 Move the pointer over tools and buttons to view tool and button names e See the beginning tutorials in Help Are upgrading from a previous version of Adobe Audition See What s New in Adobe Audition 1 5 0n page 5 to get an overview of new features Or for more detailed information see the NewFeatures pdf file on the Adobe Audition application CD 2 Learning about Adobe Audition Finding Help for Adobe Audition features If
342. uired 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 Encore DVD Adobe Premiere and After Effects are either registered trademarks or trade marks 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 mp3PRO audio coding technology licensed from Coding Technologies Fraunhofer IIS and Thomson Multimedia VST is a trademark of Steinberg Media Technologies AG ReWire is a product of Propellerhead Software 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 license for such us
343. ures of Adobe Audition 1 5 integrated CD burning and more Use integrated tools Adobe Audition tightly integrates with flexible audio technology like ReWire and VST and video applications like Adobe Premiere Pro and Adobe After Effects ReWire support Stream full resolution audio data in real time between Adobe Audition and other audio software such as Propellerhead Reason and Ableton Live See Setting up ReWire connections on page 42 VST plug in support Expand your options with integrated support for third party VST plug ins which can also be used in Adobe Premiere Pro See Using plug in effects on page 32 Enhanced video integration Edit video soundtracks with ease View video frames in the track display and import a wide range of video file formats including AVI MPEG and WMV See About working with video on page 207 Improved workflow with other Adobe products Work smoothly with Adobe Premiere Pro Adobe After Effects and Adobe Encore DVD by using similar tools menus and keyboard shortcuts See Working with Adobe Premiere Pro and After Effects on page 207 6 What s New in Adobe Audition 1 5 Sound your best With high fidelity 32 bit internal processing Adobe Audition supports up to 32 bit files and sample rates up to 10 MHz Powerful effects restoration and pitch correction tools let you create the exact sound you re after Pitch correction tool Correct off pitch performances
344. urning devices 261 properties for tracks 260 recording from 67 removing tracks 259 selecting tracks 259 setting pauses between tracks 260 writing 261 CEL format 234 Center Channel Extractor effect 141 center lines showing or hiding 51 Channel Mixer effect 140 channels converting between mono and stereo 112 selecting data in left or right 88 specifying which to edit 92 Check for Hidden Clips command 179 Chorus effect 143 Click Pop Eliminator effect 125 clip indicators clearing 81 Clip Restoration effect 126 clipboard choosing 92 clearing on exit 48 resampling data 53 clipping displayed in Level Meters 80 showing or hiding clipping boundaries 51 when normalizing groups of files 246 clips about 168 aligning 170 changing properties 174 copying 173 crossfading 176 editing 170 envelopes for 188 grouping 169 inserting in sessions 63 locking in time 174 mixing down 196 moving 168 muting 174 protecting from recording 174 rejoining 172 removing from a session 179 repeating 173 selecting 168 snapping 170 splitting 172 time stretching 177 video 209 closing files 25 231 command line playing audio from 78 commands choosing 12 consistent volume 244 Constant Bit Rate CBR 225 context sensitive menus 12 control signal for Vocoder effect 158 Convert Sample Type command using to change the bit depth 114 using to change the sample rate 111 using to convert between stereo and m
345. ve Properties command opens a tabbed window that lets you add and get infor mation about the active waveform Note To preserve file properties when you save a file make sure that you select Save Extra Non Audio Information To add file information 1 Choose View gt Wave Properties Alternatively click the Add Information button amp in the toolbar 2 Click the tabs at the top of the dialog box to navigate between different sets of properties 3 Set the properties as desired and click OK For more information search for Adding file properties in Help 117 Chapter 5 Enhancing and Restoring Audio sound quality Powerful noise reduction features let you bring old recordings into the digital age And with a wide range of filter and amplification effects you can process audio to produce radio ready sound or unique special effects A dobe Audition provides many tools you can use to repair audio and improve About enhancing and restoring audio If you need to add brilliance and impact to a new recording or clean up the sound of an old one you can use several types of audio enhancement and restoration effects e Noise reduction effects that let you remove unwanted hiss hum clicks or pops See Removing noise on page 125 e Filter effects that let you change overall tonal balance from rumbling bass tones to sparkling highs See Filtering audio on page 129 e Amplitude effects that let you precise
346. ver you must use the Effects Rack dialog box You can also use this dialog box to save groups of real time effects as a preset which you can quickly apply to multiple tracks Pira o E E a Per Clicking the FX button to access the Effects Rack dialog box User Guide 185 186 CHAPTER 7 Mixing Multitrack Sessions To apply a real time effect to a track From the Effects tab of the Organizer window drag the effect to the track If the Organizer window is closed right click the FX button in the track controls choose Rack Setup and add the effect in the Effects Rack dialog box To change settings for a previously applied effect 1 In the track controls right click FX and choose FX Settings 2 Click the tab for the effect and change settings as desired To remove or reorder a real time effect 1 In the track controls right click FX and choose Rack Setup 2 Select the effect in the Current Effects Rack list and then do one of the following To remove the effect click Remove e To reorder the effect click either Move Up or Move Down To create or apply an effects group preset 1 In the track controls right click FX and choose Rack Setup 2 Do one of the following e To create a preset click New and type a name for the preset To apply a preset choose it from the Preset menu and click Apply Mixing real time effects In the FX mixer you can change the ratio of dry to wet sound bypass effec
347. w expand Noise Reduction and double click Capture Noise Reduction Profile 3 In the waveform display select the range from which you want to remove noise 4 In the Effects tab of the Organizer window double click Noise Reduction 5 Set the desired options For more information search for Noise Reduction options in Help Filtering audio Filter effects change the frequency content of audio letting you adjust tonal range to enhance audio or create special effects Be aware however that significantly boosting a frequency can cause clipping Using the Dynamic EQ effect The Dynamic EQ effect varies the amount of equalization over time For example during the first half of a waveform you can boost high frequencies during the second half you can change the bandwidth of affected frequencies The Dynamic EQ dialog box provides three areas of controls Gain Frequency and Q bandwidth Frequency graph of the Dynamic EQ effect in Edit View Rhythmic Sweep preset 130 CHAPTER 5 Enhancing and Restoring Audio Dynamic EQ is especially effective as a real time effect in Multitrack View where you can use clip envelopes to adjust the Gain Frequency and Q parameters To use the Dynamic EQ effect 1 Select an audio range Edit View or track Multitrack View 2 In the Effects tab of the Organizer window expand Filters and double click Dynamic EQ 3 Set the desired options For more information searc
348. without introducing a lot of unwanted harmonic noise Curve Sample Rate 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 Noise Shaping 44 1KHZ 44 1 kHz Noise Shaping 48KHZ 48 kHz Noise Shaping 96KHZ 96 kHz Note In general there are no really good noise shaping curves for audio at 32 kHz or lower With audio at those sampling frequencies try the different curves to see if they help and just choose the one that sounds the best Converting multiple files to the same sample rate If you need to make the same conversion on multiple files you can save time by creating a sample rate conversion preset To create a sample rate conversion preset 1 Choose Edit gt Convert Sample Type Alternatively click the Convert Sample Type button i in the toolbar 2 Adjust the settings as desired 3 Click Save As type a name for the preset and click OK 116 CHAPTER 4 Editing Audio To apply a sample rate conversion preset Choose a preset from the list The sample type settings change to the settings defined in the preset To delete a sample rate conversion preset Choose the preset from the list and click Delete Adding file properties The Wa
349. y the basic options click Simple Basic options Choose from the following e CBR constant bit rate encodes the same bit rate throughout the entire file This method is the most common and the most predictable for bandwidth and file size e VBR variable bit rate encodes higher bit rates for more complex material and lower bit rates for simpler material While it depends on the source material VBR encoded mp3 files generally tend to be smaller than CBR encoded mp3 files Use the menu below the VBR option to choose a quality level from 10 lowest quality but smaller file to 100 highest quality but larger file Some mp3 players don t support VBR encoded files For maximum compatibility select CBR e MP3 encodes the file to mp3 but without the PRO data 238 CHAPTER 11 Saving Exporting and Closing Files e mp3PRO encodes the file mp3PRO The PRO data helps re create high frequencies in the compressed file especially at low bit rates An mp3PRO file can still be played back by an mp3 player that doesn t support the PRO data but the quality may be lower than for a standard mp3 file of that bit rate For example a 64 Kbps mp3PRO file sounds more like a 112 Kbps or 128 Kbps mp3 file if the player supports mp3PRO but it sounds like a 64 Kbps mp3 file or worse if the player doesn t support mp3PRO For information on advanced mp3PRO options see mp3PRO mp3 in Help NeXT Sun au snd The NeXT Sun format
350. ysis graph use the horizontal and vertical rulers See Zooming graphs for frequency and phase analysis on page 122 Phase Analysis Phase Analysis window with display menu revealed 122 CHAPTER 5 Enhancing and Restoring Audio To analyze phase 1 In Edit View select or play a range of the waveform 2 Choose Analyze gt Show Phase Analysis and set options as desired Normalize Enlarges the phase analysis lines so that they reach the edge of the graph Display menu Select from the following options e Left Right to display the defaults noted in the introduction above e Mid Side to rotate the display to the left by 45 degrees The horizontal ruler x axis plots the side channel right left 2 while the vertical ruler y axis plots the mid channel right left 2 e Spin to display the waveform on a phase graph rather than an amplitude graph Samples Defines the number of samples displayed concurrently Higher sample sizes give you more accurate results but they require much more processing power to be effective Choose the sample size that best suits your system For more information search for Advanced phase analysis options in Help Zooming graphs for frequency and phase analysis In the Frequency Analysis and Phase Analysis windows you can zoom graphs to analyze frequency and phase in more detail R 08 06 04 02 00 2 04 06 08 R Zooming and navigating a Phase Analysis graph ADOBE AUD

Adobe 1.5 Music Mixer User Manual

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