Music Mixer User Manual

ManualsBrandsAdobe ManualsMusic MixerAUDITION 1.5

Us er Guide

Audition

™

Adobe

ug.book Page i Tuesday, March 16, 2004 1:29 PM

Summary of content (308 pages)

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ug.book Page i Tuesday, March 16, 2004 1:29 PM Adobe Audition 1.
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ug.book Page ii Tuesday, March 16, 2004 1:29 PM © 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.
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ug.book Page iii Tuesday, March 16, 2004 1:29 PM iii Contents Learning about Adobe Audition Getting help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Working with Adobe Audition .................................3 What’s New in Adobe Audition 1.5 Use integrated tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Chapter 1 Sound your best ..............................................
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ug.book Page iv Tuesday, March 16, 2004 1:29 PM iv CONTENTS Chapter 3 Importing, Recording, and Playing Audio Opening audio files and multitrack sessions . . . . . . . . . . . . . . . . . . . 61 Inserting audio files into multitrack sessions . . . . . . . . . . . . . . . . . . 63 Importing audio from CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Setting the current-time indicator Monitoring time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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ug.book Page v Tuesday, March 16, 2004 1:29 PM v Chapter 6 Applying Stereo, Pitch, and Delay Effects About using stereo, pitch, and delay effects Changing stereo imagery Using chorus, flanger, and phaser effects Changing pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150 Creating special effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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ug.book Page vi Tuesday, March 16, 2004 1:29 PM vi CONTENTS Chapter 9 Working with Video About working with video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207 Working with Adobe Premiere Pro and After Effects Importing audio and video from video files Working with video clips Previewing video . . . . . . . . . . . . . . . . . .208 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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ug.book Page vii Tuesday, March 16, 2004 1:29 PM vii Chapter 13 Burning Audio CDs Using CD Project View Assembling tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257 Editing the source audio for tracks Setting track properties Writing a CD Appendix A . . . . . . . . . . . . . . . . . . . . . . . . . . .260 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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ug.book Page 1 Tuesday, March 16, 2004 1:29 PM 1 Learning about Adobe Audition W elcome to Adobe® AuditionTM 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 tutorials to technical support information. Many files on the Adobe Web site are in Adobe PDF format.
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ug.book Page 2 Tuesday, March 16, 2004 1:29 PM 2 Learning about Adobe Audition Finding Help for Adobe Audition features If you . . . Try this . . . Are looking for detailed information about a feature • In Help, use the Index or Search tabs. Want a list of keyboard shortcuts • In windows and dialog boxes, click the Help button or press F1. See “Keyboard Shortcuts” on page 263. Finding Adobe Audition training resources If you . . . Try this . . .
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ug.book Page 3 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 3 User Guide Finding support for Adobe Audition If you . . . Want customer or technical support Try this . . . • Refer to the technical support card provided with your software. • See the Adobe Audition support page at www.adobe.com/support/products/audition.html. • See the ReadMe file installed with Adobe Audition for information that became available after this guide went to press.
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ug.book Page 4 Tuesday, March 16, 2004 1:29 PM 4 Learning about Adobe Audition If you want to create video soundtracks • 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.) • Time stretch audio clips to match video. (See “Time stretching audio clips” on page 177.) • Generate noises and tones for sound effects. (See “Generating audio” on page 106.) • Create surround-sound mixes.
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ug.book Page 5 Tuesday, March 16, 2004 1:29 PM 5 What’s New in Adobe Audition 1.5 T his overview introduces you to the key new features of Adobe Audition 1.5, including streamlined workflow with other Adobe products, powerful new effects, 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.
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ug.book Page 6 Tuesday, March 16, 2004 1:29 PM 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 and create pitch-based effects. Use automatic mode for quick results, or manual mode for precise control.
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ug.book Page 7 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 9 Tuesday, March 16, 2004 1:29 PM 9 Chapter 1: Looking at the Work Area W 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.
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ug.book Page 10 Tuesday, March 16, 2004 1:29 PM 10 CHAPTER 1 Looking at the Work Area All three views have a similar user interface, including the following 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.
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ug.book Page 11 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 11 User Guide You can combine destructive and nondestructive editing to suit the needs of a project. If a multitrack clip requires destructive editing, for example, simply double-click it to 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 aren’t applied until you save a file.
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ug.book Page 12 Tuesday, March 16, 2004 1:29 PM 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 contextsensitive (right-click) menus and keyboard shortcuts to quickly execute commands. Using context-sensitive menus Adobe Audition makes liberal use of context-sensitive menus.
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ug.book Page 13 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 13 User Guide To customize a shortcut: 1 Choose Options > 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.
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ug.book Page 14 Tuesday, March 16, 2004 1:29 PM 14 CHAPTER 1 Looking at the Work Area To show or hide a toolbar: Choose View > 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 > 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.
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ug.book Page 15 Tuesday, March 16, 2004 1:29 PM 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 can float the window over an area that it would normally try to dock to.
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ug.book Page 16 Tuesday, March 16, 2004 1:29 PM 16 CHAPTER 1 Looking at the Work Area To hide a window: Do one of the following: • Choose the window name from the Window menu. • Click the button that corresponds to the window name in the View toolbar. (See “Using toolbars” on page 13.) • For docked windows, right-click the window’s handle and choose Close. • For undocked windows, click the X button on the window’s title bar.
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ug.book Page 17 Tuesday, March 16, 2004 1:29 PM 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 Multitrack View). You can control how much of the waveform or session is displayed by zooming and scrolling.
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ug.book Page 18 Tuesday, March 16, 2004 1:29 PM 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).
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ug.book Page 19 Tuesday, March 16, 2004 1:29 PM 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 over the horizontal scroll bar, timeline, vertical scroll bar (Multitrack View only), or vertical ruler, and roll 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.
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ug.book Page 20 Tuesday, March 16, 2004 1:29 PM 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, place 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.
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ug.book Page 21 Tuesday, March 16, 2004 1:29 PM 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. A B C 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.
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ug.book Page 22 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 23 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 23 User Guide To undo a change: Choose Edit > Undo [name of change]. Or, click the Undo button in the toolbar. The Undo command conveniently indicates which change you’re 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.
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ug.book Page 24 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 25 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 25 User Guide To display the Files tab: 1 If the Organizer window isn’t showing, choose Window > Organizer to display it. 2 Click the Files tab in the Organizer window. The following buttons appear at the top of the Files tab: • The Import File button 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.
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ug.book Page 26 Tuesday, March 16, 2004 1:29 PM 26 CHAPTER 1 Looking at the Work Area To change the listing 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. • To change the sort order of files, choose an option from the Sort By menu.
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ug.book Page 27 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 27 User Guide To display the Effects tab: 1 If the Organizer window isn’t showing, choose Window > 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 Effects tab: • 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.
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ug.book Page 28 Tuesday, March 16, 2004 1:29 PM 28 CHAPTER 1 Looking at the Work Area To display the Favorites tab: 1 If the Organizer window isn’t showing, choose Window > 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.
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ug.book Page 29 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 30 Tuesday, March 16, 2004 1:29 PM 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. 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.
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ug.book Page 31 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 32 Tuesday, March 16, 2004 1:29 PM 32 CHAPTER 1 Looking at the Work Area 3 Do one of the following: • Choose Effects > Enable Preroll And Postroll Preview. • In an 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 > Enable Preroll And Postroll Preview.
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ug.book Page 33 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 33 User Guide To set up directories for VST effects: 1 In Edit View, choose Effects > 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 > Refresh Effects List. 2 Do either of the following: • To add a new directory, click Add, locate or create the folder you want Adobe Audition to scan for VST plug-ins, and click OK.
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ug.book Page 35 Tuesday, March 16, 2004 1:29 PM 35 Chapter 2: Setting up Adobe Audition Y ou can customize the way Adobe Audition works by setting up devices and internal 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.
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ug.book Page 36 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 37 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 38 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 39 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 40 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 41 Tuesday, March 16, 2004 1:29 PM 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 > Sample Accurate Sync. 2 Choose Options > 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.
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ug.book Page 42 Tuesday, March 16, 2004 1:29 PM 42 CHAPTER 2 Setting up Adobe Audition To set up external controllers: 1 Choose Options > 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.
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ug.book Page 43 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 43 User Guide • 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. • 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.
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ug.book Page 44 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 45 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 46 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 47 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 48 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 49 Tuesday, March 16, 2004 1:29 PM 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: • Reverse Direction: Inverts the normal colors of the spectrum display, similar to an Invert or Negative command in a photo editor. • Gamma: Adjusts the overall brightness of the Spectral View.
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ug.book Page 50 Tuesday, March 16, 2004 1:29 PM 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 Audition 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.
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ug.book Page 51 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 52 Tuesday, March 16, 2004 1:29 PM 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 arithmetic greater than 16-bit, with the results converted back to 16-bit when complete. During this conversion, dithering provides a higher dynamic range and cleaner results, with less distortions and negative artifacts.
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ug.book Page 53 Tuesday, March 16, 2004 1:29 PM 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. • 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.
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ug.book Page 54 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 55 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 56 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 57 Tuesday, March 16, 2004 1:29 PM 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 point). If the amplitudes aren’t lined up on both sides of the selection, the endpoints are at different amplitudes. This often results in an audible pop or click at that point.
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ug.book Page 58 Tuesday, March 16, 2004 1:29 PM 58 CHAPTER 2 Setting up Adobe Audition A B C Manage Temporary Folder Reserve Space dialog box A. Open waveforms B. Undo items for the selected waveform C. Location of primary and secondary temporary folders 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.
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ug.book Page 59 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 59 User Guide To manage temporary folder reserve space: 1 Choose File > Manage Temporary Folder Reserve Space. 2 Do any of the following: • To close a temporary file you’re 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.) • To clear Undo items for a file, select the file in the Waveform list.
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ug.book Page 61 Tuesday, March 16, 2004 1:29 PM 61 Chapter 3: Importing, Recording, and Playing Audio Y ou can bring audio into Adobe Audition by importing it from an audio or video file 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.
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ug.book Page 62 Tuesday, March 16, 2004 1:29 PM 62 CHAPTER 3 Importing, Recording, and Playing Audio To preview the contents of a selected file: Do any of the following: • Click Play to listen to the file once. • Select Loop to repeat the file until you click Stop. • 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 > Open Append.
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ug.book Page 63 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 63 User Guide Note: Older sound cards might not be able to play 32-bit files properly. To check the capabilities of your sound card, choose Options > 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 audio data themselves.
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ug.book Page 64 Tuesday, March 16, 2004 1:29 PM 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: • Choose Insert > Audio, select the audio file, and click Open.
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ug.book Page 65 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 66 Tuesday, March 16, 2004 1:29 PM 66 CHAPTER 3 Importing, Recording, 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.
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ug.book Page 67 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 67 User Guide • D5 sends the D5 SCSI Op Code to the CD-ROM drive. • 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.
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ug.book Page 68 Tuesday, March 16, 2004 1:29 PM 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 > 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.
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ug.book Page 69 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 69 User Guide Current-time indicator To set the current-time indicator: Do one of the following in the display window: • Click exactly where you want to set the current time. • 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.
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ug.book Page 70 Tuesday, March 16, 2004 1:29 PM 70 CHAPTER 3 Importing, Recording, and Playing Audio A B C Features that help you monitor time A. Playback cursor B. Timeline C. Time window To display the Time window: Do one of the following: • Choose Window > Time. A check mark indicates that the window is visible. • Click the Hide/Show Time Window button in the View toolbar. (See “Using toolbars” on page 13.
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ug.book Page 71 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 71 User Guide • SMPTE 24 fps (Film) displays time in a format where each second equals 24 frames, suitable for film. • Samples displays time numerically, using as a reference the actual number of samples that have passed since the beginning of the edited file. • Bars and Beats displays time in a musical measures format of bars:beats:ticks. To adjust the settings, choose Edit Tempo.
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ug.book Page 72 Tuesday, March 16, 2004 1:29 PM 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-tonoise levels. (See “Adjusting a sound card’s levels” on page 82.) By default, Adobe Audition displays waveforms in real time while recording.
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ug.book Page 73 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 73 User Guide To set start and stop times for recording: 1 Enable timed record mode. 2 Click the Record button . 3 Specify the maximum recording time: • Select No Time Limit to record until you click the Stop button (or until disk space runs out). • Select Recording Length to record for the duration you specify in the Recording Length box.
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ug.book Page 74 Tuesday, March 16, 2004 1:29 PM 74 CHAPTER 3 Importing, Recording, and Playing Audio To record a new clip in a track: 1 In the 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 for the track. 3 To simultaneously record on multiple tracks, repeat steps 1-2 for each track.
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ug.book Page 75 Tuesday, March 16, 2004 1:29 PM 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 > Take History, and then select the desired take. To merge a selected take into a clip: Choose Edit > Take History > Merge This Take (Destructive).
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ug.book Page 76 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 77 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 77 User Guide To play a selected range of audio with preroll and postroll: 1 In Edit View, right-click the Play button 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.
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ug.book Page 78 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 79 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 79 User Guide To pause playing or recording audio: Click the Pause button 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: • The Go to Beginning button places the playback cursor at the beginning of the waveform or session. • The Rewind button shuttles the playback cursor backward in time.
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ug.book Page 80 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 81 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 82 Tuesday, March 16, 2004 1:29 PM 82 CHAPTER 3 Importing, Recording, and Playing Audio Select Static Peaks 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).
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ug.book Page 83 Tuesday, March 16, 2004 1:29 PM 83 Chapter 4: Editing Audio dobe Audition provides a powerful and easy-to-use interface for preforming 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. A About editing audio When you open an audio file in Edit View, you see the waveform display, a visual representation of the sound wave, or waveform.
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ug.book Page 84 Tuesday, March 16, 2004 1:29 PM 84 CHAPTER 4 Editing Audio Many editing tasks 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.
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ug.book Page 85 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 85 User Guide • 16-bit produces a CD-quality waveform. This setting is suitable for most broadcast and music recordings. • 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.
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ug.book Page 86 Tuesday, March 16, 2004 1:29 PM 86 CHAPTER 4 Editing Audio • 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.” • Spectral View displays a waveform by its frequency components, where the x-axis repre- sents time and the y-axis (vertical ruler) measures frequency.
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ug.book Page 87 Tuesday, March 16, 2004 1:29 PM 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.) Selecting with the mouse You can select a range of audio data by dragging in the waveform display.
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ug.book Page 88 Tuesday, March 16, 2004 1:29 PM 88 CHAPTER 4 Editing Audio To select a range in only one channel: Do one of the following: • Drag near the top of the left (upper) channel. The cursor displays an L icon to indicate the left channel. • 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.
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ug.book Page 89 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 89 User Guide To make a marquee selection: 1 In Spectral View, click the Marquee Selection button in the toolbar. If this button isn’t visible, choose View > Toolbars > 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.
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ug.book Page 90 Tuesday, March 16, 2004 1:29 PM 90 CHAPTER 4 Editing Audio • Adjust Right Side To Left adjusts the right range boundary leftward to the next zero crossing point. • 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.
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ug.book Page 91 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 92 Tuesday, March 16, 2004 1:29 PM 92 CHAPTER 4 Editing Audio 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: • Choose Edit > Edit Channel, and choose which channel you want to edit.
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ug.book Page 93 Tuesday, March 16, 2004 1:29 PM 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 entire waveform, deselect all audio data. 2 Choose Edit > Copy or Edit > 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.
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ug.book Page 94 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 95 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 96 Tuesday, March 16, 2004 1:29 PM 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 within a waveform (for instance, 1:08.566 from the start of the wave).
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ug.book Page 97 Tuesday, March 16, 2004 1:29 PM 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 the toolbar. in To select cues: Do one of the following: • Click a cue in the cue list.
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ug.book Page 98 Tuesday, March 16, 2004 1:29 PM 98 CHAPTER 4 Editing Audio • 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. • Track Cues lets you indicate a split in tracks for an audio compact disc. Use these cues only for burning CDs.
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ug.book Page 99 Tuesday, March 16, 2004 1:29 PM 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: • For point cues, drag the cue handle to a new location in the waveform display. • For range cues, drag the red start handle to a new location in the waveform display. • Select the cue, and click Edit Cue Info in the Cue List window. Enter a new value in the Begin text box.
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ug.book Page 100 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 101 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 102 Tuesday, March 16, 2004 1:29 PM 102 CHAPTER 4 Editing Audio • 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 appropriate text boxes. If these values don’t do the job—for example, words or phrases get chopped off—lower the signal level values. Increase the signal level values if not enough silence is removed.
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ug.book Page 103 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 103 User Guide To play items in a play list: Do one of the following: • To play the entire play list, select the first item in the list, and click Play in the Play List window. • To play part of the list, select the first item you want to play, and click Play in the Play List window. • To play a specific item in the list, select that item, and click Autocue in the Play List window.
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ug.book Page 104 Tuesday, March 16, 2004 1:29 PM 104 CHAPTER 4 Editing Audio To mute existing audio data: 1 Select the desired range of audio data. 2 Choose Effects > Silence. Unlike deleting or cutting a selection, which splices the surrounding material together, applying 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.
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ug.book Page 105 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 105 User Guide 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.
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ug.book Page 106 Tuesday, March 16, 2004 1:29 PM 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 correct out-of-phase channels or create interesting phasing effects. For more information on phase, see the Glossary.
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ug.book Page 107 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 107 User Guide 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 > 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.
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ug.book Page 108 Tuesday, March 16, 2004 1:29 PM 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 characteristics.
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ug.book Page 109 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 109 User Guide Style Specifies a style for the noise: • 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 all around.
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ug.book Page 110 Tuesday, March 16, 2004 1:29 PM 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. • 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.
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ug.book Page 111 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.
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ug.book Page 112 Tuesday, March 16, 2004 1:29 PM 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 most conversion needs. Use higher values whenever you downsample a high rate to a low rate.
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ug.book Page 113 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 113 User Guide To remove all or most of the lead vocals from many stereo music recordings, you can convert a stereo waveform to mono with a Left Mix of 100% and a Right Mix of –100%. Most vocal tracks are positioned in the middle of the stereo field in-phase, so converting the signal so that it’s out of phase often greatly reduces or eliminates the vocal track’s level.
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ug.book Page 114 Tuesday, March 16, 2004 1:29 PM 114 CHAPTER 4 Editing Audio To change the bit depth of a file: 1 Choose Edit > Convert Sample Type. Alternatively, click the Convert Sample Type button 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.
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ug.book Page 115 Tuesday, March 16, 2004 1:29 PM 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, without introducing a lot of unwanted harmonic noise. Curve Sample Rate Noise Shaping A 44.1 kHz or 48 kHz Noise Shaping B 44.
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ug.book Page 116 Tuesday, March 16, 2004 1:29 PM 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 Wave Properties command opens a tabbed window that lets you add and get information about the active waveform.
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ug.book Page 117 Tuesday, March 16, 2004 1:29 PM 117 Chapter 5: Enhancing and Restoring Audio A dobe Audition provides many tools you can use to repair audio and improve 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.
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ug.book Page 118 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 119 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 119 User Guide Analyzing frequency range In Edit View, you can use the Frequency Analysis window to analyze frequency range either statically for a selected area or dynamically 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 vertical rulers.
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ug.book Page 120 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 121 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 122 Tuesday, March 16, 2004 1:29 PM 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 > 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: • Left/Right to display the defaults noted in the introduction above. • Mid/Side to rotate the display to the left by 45 degrees.
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ug.book Page 123 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 123 User Guide To zoom in on a 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 . 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: • Zoom Out to return to the previous magnification.
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ug.book Page 124 Tuesday, March 16, 2004 1:29 PM 124 CHAPTER 5 Enhancing and Restoring Audio Waveform Statistics dialog box, Histogram tab To view a waveform histogram: 1 In Edit View, select an audio range. 2 Choose Analyze > 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 > Statistics, and click the General tab.
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ug.book Page 125 Tuesday, March 16, 2004 1:29 PM 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 or a single click or pop.
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ug.book Page 126 Tuesday, March 16, 2004 1:29 PM 126 CHAPTER 5 Enhancing and Restoring Audio A B 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 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 display.
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ug.book Page 127 Tuesday, March 16, 2004 1:29 PM 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. For more information, search 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.
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ug.book Page 128 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 129 Tuesday, March 16, 2004 1:29 PM 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 window, expand Noise Reduction, and double-click Capture Noise Reduction Profile.
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ug.book Page 130 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 131 Tuesday, March 16, 2004 1:29 PM 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 representation of the resulting EQ curve.
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ug.book Page 132 Tuesday, March 16, 2004 1:29 PM 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” in Help. Using the Parametric Equalizer effect The Parametric Equalizer provides maximum control over tonal equalization.
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ug.book Page 133 Tuesday, March 16, 2004 1:29 PM 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 the level of lower frequencies.
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ug.book Page 134 Tuesday, March 16, 2004 1:29 PM 134 CHAPTER 5 Enhancing and Restoring Audio A B 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.
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ug.book Page 135 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 136 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 137 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 138 Tuesday, March 16, 2004 1:29 PM 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. For more information, search for “Normalize options” in Help.
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ug.book Page 139 Tuesday, March 16, 2004 1:29 PM 139 Chapter 6: Applying Stereo, Pitch, and Delay Effects I 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.
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ug.book Page 140 Tuesday, March 16, 2004 1:29 PM 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 desired options. For more information, search for “Binaural Auto-Panner options” in Help.
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ug.book Page 141 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 141 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).
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ug.book Page 142 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 143 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 144 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 145 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 146 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 147 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 148 Tuesday, March 16, 2004 1:29 PM 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 Multitrack 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).
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ug.book Page 149 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 149 User Guide Using the Echo Chamber effect The 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.
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ug.book Page 150 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 151 Tuesday, March 16, 2004 1:29 PM 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 track, 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).
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ug.book Page 152 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 153 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 153 User Guide To use the 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 Reverb. 3 Set the desired options. For more information, search for “Reverb options” in Help.
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ug.book Page 154 Tuesday, March 16, 2004 1:29 PM 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 in 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.
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ug.book Page 155 Tuesday, March 16, 2004 1:29 PM 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. 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 amplifiers.
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ug.book Page 156 Tuesday, March 16, 2004 1:29 PM 156 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects The Music dialog box 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 clipboard data is filled with the sample automatically after music is generated.
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ug.book Page 157 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 158 Tuesday, March 16, 2004 1:29 PM 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 22050 Hz (or whatever the maximum frequency present is, based on the sample rate).
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ug.book Page 159 Tuesday, March 16, 2004 1:29 PM 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 . 3 In the track display, select the range you want to process. 4 Ctrl-click the wave clips you want to process.
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ug.book Page 161 Tuesday, March 16, 2004 1:29 PM 161 Chapter 7: Mixing Multitrack Sessions I 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.
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ug.book Page 162 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 163 Tuesday, March 16, 2004 1:29 PM 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 > 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.
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ug.book Page 164 Tuesday, March 16, 2004 1:29 PM 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 > 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.
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ug.book Page 165 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 165 User Guide To select a range in the track display: 1 In the toolbar, select either the Hybrid tool or the Time Selection tool . 2 In the track display, do one of the following: • To select only a range, click an empty area of the track display, and drag left or right. • To select a range and clips, click a clip, and drag left or right while dragging up or down.
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ug.book Page 166 Tuesday, March 16, 2004 1:29 PM 166 CHAPTER 7 Mixing Multitrack Sessions To change background mixing settings: Right-click the Mix Gauge, and choose any of the following: • Disable Background Mixing. • Lower Mix Priority When In Other Applications. • 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.
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ug.book Page 167 Tuesday, March 16, 2004 1:29 PM 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 > SMPTE Master Enable. 2 Select the desired SMPTE time format for the timeline (see “Monitoring time” on page 69).
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ug.book Page 168 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 169 Tuesday, March 16, 2004 1:29 PM 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. 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.
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ug.book Page 170 Tuesday, March 16, 2004 1:29 PM 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 > Align Left or Edit > Align Right. Note: Because the relative position of grouped clips is fixed, you must ungroup them to align them.
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ug.book Page 171 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 171 User Guide 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 > Trim instead of clicking the Trim To Selection button.
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ug.book Page 172 Tuesday, March 16, 2004 1:29 PM 172 CHAPTER 7 Mixing Multitrack Sessions To return to the full, original version of a clip: Select the clip, and choose Edit > Full. Alternatively, right-click the clip, and choose Full. 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.
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ug.book Page 173 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 174 Tuesday, March 16, 2004 1:29 PM 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 > Clip Duplicate. 2 Set the following options: Duplicate Clip Specifies the number of times to duplicate the clip.
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ug.book Page 175 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 175 User Guide A B C D E 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 Right-click the clip, and choose Audio Clip Properties. 2 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.
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ug.book Page 176 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 177 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 178 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 179 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 179 User Guide Revealing hidden clips If tracks contain overlapping clips, you can reveal hidden clips throughout a session. To reveal hidden clips: Choose Edit > 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.
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ug.book Page 180 Tuesday, March 16, 2004 1:29 PM 180 CHAPTER 7 Mixing Multitrack Sessions Using the Track 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.
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ug.book Page 181 Tuesday, March 16, 2004 1:29 PM 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 . To solo multiple tracks, hold down Ctrl and press their Solo buttons. To mute a track: In the track controls, click the Mute button .
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ug.book Page 182 Tuesday, March 16, 2004 1:29 PM 182 CHAPTER 7 Mixing Multitrack Sessions The list of devices is determined by the devices you designate in the Device Order dialog box. (See “Designating 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.
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ug.book Page 183 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 184 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 185 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 185 User Guide Working with MIDI tracks 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.
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ug.book Page 186 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 187 Tuesday, March 16, 2004 1:29 PM 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%.
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ug.book Page 188 Tuesday, March 16, 2004 1:29 PM 188 CHAPTER 7 Mixing Multitrack Sessions • 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.
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ug.book Page 189 Tuesday, March 16, 2004 1:29 PM 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. A B 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 • Show Pan Envelopes . . • Show Wet/Dry Mix Envelopes . • Show FX Parameter Envelopes .
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ug.book Page 190 Tuesday, March 16, 2004 1:29 PM 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 > [envelope type] > Clear Selected Points.
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ug.book Page 191 Tuesday, March 16, 2004 1:29 PM 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.) A B C The Track Mixer A. Track controls B.
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ug.book Page 192 Tuesday, March 16, 2004 1:29 PM 192 CHAPTER 7 Mixing Multitrack Sessions To use the Track Mixer: 1 In Multitrack View, choose Window > 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. • Out shows and hides the Out buttons. • Bus shows and hides the Wet and Dry text boxes for buses.
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ug.book Page 193 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 194 Tuesday, March 16, 2004 1:29 PM 194 CHAPTER 7 Mixing Multitrack Sessions A B The Bus Mixer A. Bus controls B. Scroll bar To create and configure a new bus: 1 In Multitrack View, choose Window > 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.
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ug.book Page 195 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 195 User Guide To mix and reconfigure buses: 1 In Multitrack View, choose Window > 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 added to the bus.
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ug.book Page 196 Tuesday, March 16, 2004 1:29 PM 196 CHAPTER 7 Mixing Multitrack Sessions Mixing down ReWire tracks and specific audio clips You can mix down ReWire tracks and specific 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.
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ug.book Page 197 Tuesday, March 16, 2004 1:29 PM 197 Chapter 8: Using Loops L 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 bestselling 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.
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ug.book Page 198 Tuesday, March 16, 2004 1:29 PM 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. Selecting a waveform that starts and ends on a clear beat helps make for a good loop.
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ug.book Page 199 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 199 User Guide 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 > Display Time Format > Edit Tempo to specify detailed tempo infor- mation for the loop. (See “Calculating the tempo of selected ranges” on page 199.) 9 Choose Edit > Copy To New.
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ug.book Page 200 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 201 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 201 User Guide 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.
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ug.book Page 202 Tuesday, March 16, 2004 1:29 PM 202 CHAPTER 8 Using Loops • 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.
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ug.book Page 203 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 203 User Guide Repeat Every X Beats Repeats the loop at the number of beats 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 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.
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ug.book Page 204 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 205 Tuesday, March 16, 2004 1:29 PM 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. A B C 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.
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ug.book Page 206 Tuesday, March 16, 2004 1:29 PM 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 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.
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ug.book Page 207 Tuesday, March 16, 2004 1:29 PM 207 Chapter 9: Working with Video dobe Audition tightly integrates with digital video, enhancing any video project with professional sound. To create uniquely sophisticated soundtracks, you can combine Adobe Audition with Adobe Premiere Pro® and Adobe After Effects® to take full advantage of Adobe Audition’s flexible mixing features. A About working with video With Adobe Audition, you can improve the sound of any video project.
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ug.book Page 208 Tuesday, March 16, 2004 1:29 PM 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 > Edit Original. 3 Select one of the following, and then click OK: • Launch The Audition Multitrack Session Which Created This File. • Insert This File Into Audition’s Edit View.
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ug.book Page 209 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 209 User Guide 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.
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ug.book Page 210 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 211 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 211 User Guide To customize the video preview: Right-click the Video window, and select any of the following: • A zoom percentage to zoom in or out. • Best Fit to fit the preview to the window. • Maintain Aspect Ratio to maintain that ratio when you resize the window. • Integer Factor Sizing to constrain the preview to ratios such as 1/2, 1/1, and 2/1 when you resize the window.
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ug.book Page 212 Tuesday, March 16, 2004 1:29 PM 212 CHAPTER 9 Working with Video To preview a video mixdown: 1 Choose Edit > Snapping > 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: • If the soundtrack doesn’t sound as you expect, edit the session as desired, and then repeat steps 2 through 3.
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ug.book Page 213 Tuesday, March 16, 2004 1:29 PM 213 Chapter 10: Creating Surround Sound A dobe Audition includes the Multichannel Encoder, a self-contained dialog box where you can access the tracks of any existing Multitrack session, pan them into 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.
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ug.book Page 214 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 215 Tuesday, March 16, 2004 1:29 PM 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 > Multichannel Encoder. 4 In the Track List, select the tracks and bus outputs you want to pan and export.
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ug.book Page 216 Tuesday, March 16, 2004 1:29 PM 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. 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 In the 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.
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ug.book Page 217 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 218 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 219 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 220 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 221 Tuesday, March 16, 2004 1:29 PM 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: • Place the mouse cursor over the time ruler that runs across the bottom of the waveform display, right-click and select a zoom option. • Right-drag the desired zoom area on the time ruler.
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ug.book Page 222 Tuesday, March 16, 2004 1:29 PM 222 CHAPTER 10 Creating Surround Sound Play All Plays from the 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.
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ug.book Page 223 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 224 Tuesday, March 16, 2004 1:29 PM 224 CHAPTER 10 Creating Surround Sound 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.
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ug.book Page 225 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 226 Tuesday, March 16, 2004 1:29 PM 226 CHAPTER 10 Creating Surround Sound • 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.
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ug.book Page 227 Tuesday, March 16, 2004 1:29 PM 227 Chapter 11: Saving, Exporting, and Closing Files A dobe Audition lets you save audio files and export sessions to a variety of common 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.
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ug.book Page 228 Tuesday, March 16, 2004 1:29 PM 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 information and cue marks in the file. In addition, if you save a .
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ug.book Page 229 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 229 User Guide To save a session: 1 Do one of the following: • Choose File > Save Session to save changes to the current session file. Alternatively, click the Save button in the Multitrack File toolbar. • Choose File > Save Session As to save changes to a different session file. Alternatively, click the Save As button in the Multitrack File toolbar. • Choose File > Save All to save all open sessions.
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ug.book Page 230 Tuesday, March 16, 2004 1:29 PM 230 CHAPTER 11 Saving, Exporting, and Closing Files To export a mix to an audio file: 1 Do one of the following: • To export part of a session, select the desired area in the track display. • 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 > Export > Audio. 3 Choose a location for the file, type a filename, and choose a file format.
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ug.book Page 231 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 231 User Guide 4 Select Save Extra Non-Audio Information to save header fields containing file information 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 > Close.
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ug.book Page 232 Tuesday, March 16, 2004 1:29 PM 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) (.
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ug.book Page 233 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 234 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 235 Tuesday, March 16, 2004 1:29 PM 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 .
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ug.book Page 236 Tuesday, March 16, 2004 1:29 PM 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 on the sample being compressed. As with Microsoft ADPCM, use this format with 16-bit rather than 8-bit files.
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ug.book Page 237 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 237 User Guide • 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.
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ug.book Page 238 Tuesday, March 16, 2004 1:29 PM 238 CHAPTER 11 Saving, Exporting, and Closing Files • 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.
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ug.book Page 239 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 239 User Guide Windows Media Audio (.wma) The WMA format utilizes a perceptual compression scheme and lets you select from three different encoding options: • 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.
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ug.book Page 240 Tuesday, March 16, 2004 1:29 PM 240 CHAPTER 11 Saving, Exporting, and Closing Files • 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.
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ug.book Page 241 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 243 Tuesday, March 16, 2004 1:29 PM 243 Chapter 12: Scripting and Batch Processing I 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.
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ug.book Page 244 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 245 Tuesday, March 16, 2004 1:29 PM 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 statistics, including an RMS histogram and a clipping profile. (See “Understanding statistics on the Analyze Loudness tab” on page 245.) 4 Click the Normalize tab, and specify how you want to normalize the waveforms.
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ug.book Page 246 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 247 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 247 User Guide Batch processing files The Batch Processing dialog box in Adobe Audition 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.
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ug.book Page 248 Tuesday, March 16, 2004 1:29 PM 248 CHAPTER 12 Scripting and Batch Processing • Click Hide Path to display the name of the file without its full path. • 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 (*.
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ug.book Page 249 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 250 Tuesday, March 16, 2004 1:29 PM 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 called “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.
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ug.book Page 251 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 251 User Guide 7 After you record the script, choose Options > 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.
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ug.book Page 252 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 253 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 254 Tuesday, March 16, 2004 1:29 PM 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: • 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. • Add separator bars by typing a series of dashes (“------”) into the Name text box.
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ug.book Page 255 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 255 User Guide • Show Dialog causes the dialog box for the particular command to display, with the settings you specified for the favorite. Script tab Lets you specify the following options: • 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.
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ug.book Page 257 Tuesday, March 16, 2004 1:29 PM 257 Chapter 13: Burning Audio CDs A dobe Audition provides an integrated CD burning utility that makes it easy to 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.
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ug.book Page 258 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 259 Tuesday, March 16, 2004 1:29 PM ADOBE 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: • To select adjacent (contiguous) tracks, click the first track in the desired range, and then Shift-click the last.
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ug.book Page 260 Tuesday, March 16, 2004 1:29 PM 260 CHAPTER 13 Burning Audio CDs To close the source files when removing tracks: 1 Select one or more tracks. 2 Choose Edit > Destroy Selected Tracks (Remove and Close). Editing the source audio for tracks The Edit Waveform command in CD Project View lets you edit the 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 > Edit Waveform.
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ug.book Page 261 Tuesday, March 16, 2004 1:29 PM 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-Emphasis 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.
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ug.book Page 262 Tuesday, March 16, 2004 1:29 PM 262 CHAPTER 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 > 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: • Write CD writes the CD without testing for buffer underruns.
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ug.book Page 263 Tuesday, March 16, 2004 1:29 PM 263 Appendix A: Keyboard Shortcuts K 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 your working style. To customize shortcuts or trigger commands with a MIDI keyboard, use the Keyboard Shortcuts & MIDI Triggers command. (See “Using shortcuts” on page 12.
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ug.book Page 267 Tuesday, March 16, 2004 1:29 PM 267 Appendix B: Digital Audio Primer U 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.
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ug.book Page 268 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 269 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 270 Tuesday, March 16, 2004 1:29 PM 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 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.
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ug.book Page 271 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 271 User Guide A B Two sample rates A. Low sample rate that distorts the original sound 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.
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ug.book Page 272 Tuesday, March 16, 2004 1:29 PM 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 analog wave. With a resolution of two bits, each sample can have one of only four possible amplitude positions.
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ug.book Page 273 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 273 User Guide 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.
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ug.book Page 275 Tuesday, March 16, 2004 1:29 PM 275 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.
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ug.book Page 276 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 277 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 278 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 279 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 279 User Guide 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.
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ug.book Page 280 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 281 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 282 Tuesday, March 16, 2004 1:29 PM 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 bottom meter represents the right.
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ug.book Page 283 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 284 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 285 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 286 Tuesday, March 16, 2004 1:29 PM 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. Real time 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.
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ug.book Page 287 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 287 User Guide 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 most 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.
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ug.book Page 288 Tuesday, March 16, 2004 1:29 PM 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.
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ug.book Page 289 Tuesday, March 16, 2004 1:29 PM 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 > 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.
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ug.book Page 297 Tuesday, March 16, 2004 1:29 PM ADOBE AUDITION 1.5 297 User Guide P p.d.f. (probability distribution function) 38 playback devices.
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ug.book Page 298 Tuesday, March 16, 2004 1:29 PM 298 INDEX resizing windows 14 saving opening 63 restoring audio, about 117 audio files 227 recording into 73 restoring default workspace 44 mixdowns to audio 229 saving 228 reverb mixdowns to video 230 using as SMPTE masters or slaves 166 adding 150 sessions 228 defined 286 Scientific Filters effect 133 tails 152 .scp files 248 Reverb effect 152 script collection (.
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