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Note that in the screen shot, unused bands have been turned off for clarity. To select noncontiguous files, press Ctrl-click [Command-click] on each file you want to load.
 
 

Adobe audition cs6 user guide free download

 

All rights reserved. If this guide is distributed with software that includes an end user license 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 ftee adobe audition cs6 user guide free download such license. Except as permitted by any such license, guidr part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated.

Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement. The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.

Please remember audiition existing artwork or images that you may adobe audition cs6 user guide free download to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your adobe audition cs6 user guide free download work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner. All sound examples provided with the lessons are copyright by Craig Anderton.

However, purchasers of this book are granted a non-exclusive, royalty-free downlowd to use any of these loops and samples in their own projects, as part of musical compositions. This license prohibits using them commercially, in loop libraries, or in sound libraries of any kind. The video file used in Lesson 16 is courtesy of Harmony Central Inc.

Any references to company names in sample files are for demonstration purposes only and are not intended to refer to any actual organization. All other trademarks are the property of their respective owners.

Government End Users. Ras applicable. Consistent with 48 C. Government end users a only as Commercial Items and b with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States.

For U. Ftee End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Orderas amended, Section of the Vietnam Era Veterans Readjustment Assistance Act of 38 USCand Section of the Rehabilitation Ссылка на страницу ofas amended, and the regulations at 41 CFR Parts through, and The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference.

For the latest on Adobe Press books, go to To report errors, please send a note to peachpit. Please них acdsee ultimate 10 pdf free моему that these files are available to ebook readers via high-speed download. Please click here to go to the last page in this ebook for the download location and instructions. Adobe Audition CS6 Classroom in a Book includes the lesson files that you ll need to complete the exercises in this book, as well as other content to help you learn more about Adobe Audition CS6 and use it with greater efficiency and ease.

The diagram below represents the contents of the lesson files directory, which should help you locate the files you детальнее на этой странице. Made in the USA.

You will need to download these lesson folders to your hard drive before you can begin each lesson. Adobe Press Find information about other Adobe Press titles, covering the full adobe audition cs6 user guide free download of Adobe products, in the Online Resources file. Just open it in your Web browser and click on the links, including a special link to this book s product page where you can access updates and bonus material.

This unique approach integrates the two elements so that, for example, audio used in a multitrack project can be edited with great detail in the digital audio editor, then transferred back to the multitrack downloadd. Mixdowns mono, stereo, or surround exported from the multitrack session are available automatically within the digital audio editor, where a variety of mastering tools are available to polish and sweeten the mix.

The final mix can then be burned fre a recordable CD, which is created according to the standard Red Book specification, or converted into web-friendly, data-compressed formats like MP3 and FLAC.

Furthermore, the Multitrack Editor has a video window that enables recording soundtracks and narration in Audition while previewing video. Audition is cross-platform and runs equally well with Macintosh or Windows computers.

Thanks to combining two programs within a single, integrated application, Audition has multiple uses restoring audio, multitrack recording for musicians, mastering, sound design, broadcast, video game sound, narration and voiceovers, file format conversion, small-scale CD production, and even forensics.

Fortunately, all of this is available from a clean, easy-to-use, straightforward interface whose workflow has benefited from over a decade aobe continuous development and refinement. The latest version, Audition CS6, deepens the level of integration with Premiere Pro and After Effects for easy exchange of files and even complete sequences.

This greatly simplifies the process audktion creating a soundtrack that reflects changes in the video due to editing. There are also significant editing enhancements, such as envelope keyframe editing, clip grouping, multiple clipboards, real-time clip stretching, and more. Other new features include Automatic Speech Alignment to greatly simplify ADR, a media browser for quickly downlad and previewing files, control surface support for multiple protocols, pitch correction, side-chaining, adobe audition cs6 user guide free download больше на странице processing, and the ability to import and export more file formats than ever before.

These are just the highlights; long-time Audition users will appreciate the many little extras that enhance workflow and audio quality, whereas those new to Audition will welcome its depth and flexibility. The lessons are designed to let you learn at your uder pace. If you re new to Adobe Audition, you ll learn the fundamental concepts and features needed to start mastering the program. And, if you ve been using Adobe Audition for a while, you ll find that Classroom in a Book teaches adobf to intermediate features, including tips and techniques frre using the latest version of the application for a wide variety of projects.

Although each lesson concentrates on providing step-by-step instructions to reach specific goals, there s room for exploration and experimentation.

You can follow the book from start to finish, or do only the lessons that match your interests and needs. Each lesson has an introduction that источник what you can expect to learn from a chapter, and concludes with a review section summarizing what you ve covered.

What s in this book This edition covers many new features in Жмите сюда Adobe audition cs6 user guide free download CS6, and how to apply them optimally in real-world situations. It addresses audio and music professionals who depend on Audition s tools to accomplish a variety adobe audition cs6 user guide free download tasks, as well as videographers who want to become more involved in the process of creating, editing, and sweetening audio intended for video productions.

The book is organized in three separate parts. The introduction starts with how adobe audition cs6 user guide free download get audio in and out of Audition on both Mac and Windows platforms, then progresses to an overview of the Audition Workspace a collection of modules, each dedicated to specific tasks, that you can open, close, and rearrange, depending on the nature of the project, to optimize workflow and efficiency.

The second part concentrates on digital audio editing in the Waveform Editor, and covers such topics as editing, signal processing and effects, audio restoration, mastering, and sound design. To segue into the final third, it adobe audition cs6 user guide free download covers recording, and integration with the Multitrack Editor.

Adobe audition cs6 user guide free download final section covers the Multitrack Editor in detail, including editing, automation, creating music with sound libraries, in-depth coverage of mixing, and creating soundtracks for video.

Throughout the book, examples using digital audio clips created specifically for this book give practical, hands-on experience that brings to life the theory presented in these pages. Even non-musicians will learn how to create music using sound libraries and loops in conjunction with Audition s extensive toolset for audifion creation and editing. You ll even learn how to do rough testing aufition your room acoustics prior to mixing, using tools within Audition.

All of these can help you meet deadlines more easily than ever before and that alone is a adobe audition cs6 user guide free download auditiom to become familiar with Audition adobe audition cs6 user guide free download workflow, capabilities, and user interface. Prerequisites Before you begin to use Adobe Audition CS6 Classroom in a Book, you should have a working knowledge of your computer and its operating system.

Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. If you need to review uset techniques, see the documentation included with your Microsoft Windows or Macintosh system. It s also highly recommended that you read over the introduction to the Audition manual that covers digital audio basics. You ll also need the ability to get audio in and out of your computer.

Virtually all computers include on-board audio capabilities audio input for recording, and internal speakers or a headphone adobe audition cs6 user guide free download for monitoringbut be aware that these use consumer-grade components audiion while adequate, will not showcase what Audition can do to the fullest extent.

Professional and adobe audition cs6 user guide free download audio interfaces are available at very reasonable costs, and are recommended not gujde for doing the lessons in this book, but also for any future audio work involving computers. Installing Adobe Audition Before you begin using Adobe Audition CS6 Classroom in a Book, make sure that your computer is set up correctly and that adobe audition cs6 user guide free download meets the necessary system requirements for software and hardware.

You ll need a copy of Adobe Audition CS6, of course, but it s not included with this book. Note that Audition is a very efficient program, and one of its attributes is that it will run reasonably well even on older ftee. However, as with most audio and video programs, having sufficient RAM is essential for a smooth computing experience.

Make sure that your serial number is accessible before installing the application. You need to install Audition from its application DVD, or the online trial version you downloaded, onto читать hard disk; you cannot run the program from the DVD. Follow the onscreen instructions for a successful installation.

Starting Adobe Audition You start Audition just as you do most software applications. Each lesson has its own folder; you must copy the 64 pro free for windows free 10 driver bit usb to your hard disk to complete the lessons. To save room on your disk, you can install only the folder necessary for each lesson as you need it, and remove it when you re done. To copy only individual lesson files, first create a new folder on your hard disk and name it Lessons.

Then, open the Lessons folder on the CD and drag the lesson folder or folders that you want to copy from the CD into the Lessons folder on your hard disk. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, please refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.

Adobe content is updated based on community feedback and contributions. You can add comments to content or forums including links to web content, publish your own content using Community Publishing, or contribute Cookbook Recipes. Adobe Forums: forums. The Audition forum is accessible from Audition s Help menu. Adobe TV: tv. Adobe Design Center: offers thoughtful articles on design and design issues, a gallery showcasing the work of top-notch designers, tutorials, and more.

Adobe Developer Connection: is your source for technical articles, code samples, and how-to videos that cover Adobe Audition, as well as the Audition SDK. Resources for educators: offers a treasure trove of information for instructors who teach classes on Adobe software.

Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certified Associate exams.

Free audio content: Your purchase of Audition CS6 includes free libraries containing thousands of royalty-free loops, aadobe effects, music beds, and more. Also check out this useful site: Inside Sound blogs. The Twitter feed is also accessible from Audition s Help menu. Checking for updates Adobe periodically provides updates to software.

You can easily obtain these updates through Adobe Updater, as long as you have an active Internet connection and are a registered user.

Adobe Updater automatically checks for updates available for your Adobe software. The Adobe Certified Expert program is a way for expert users to upgrade their credentials.

You can use Adobe certification as a catalyst for getting a raise, finding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certified Instructor program takes your skills to the next level and gives you access downloaad a wide range of Adobe resources.

 

Adobe audition cs6 user guide free download. adobe audition cs6 user guide pdf PDF,Doc ,Images

 
Dragging the node to the left also increases distortion by allowing lower levels to distort.

 
 

Adobe audition cs6 user guide free download.Learn Adobe Audition CC & CS6 Step-by-Step Guide for Android

 
 

This is not a real-time control, so you need to adjust it, play the audio, adjust, play, and so on. For now, click the Transport Stop button, and then move the slider to Because this is a computation-intensive process, during real-time playback Audition may not be able to process a click prior to playing it back. Note that this closes the Automatic Click Remover processor.

Move the complexity slider to 35, and click Apply again. Click the variations. If these sounds are relatively constant, Audition can reduce or remove them using the Noise Reduction process. This process can also reduce hiss and allow for more detailed editing compared to the Hiss Reduction option. As with reducing hiss, Audition will take a noise print of the hum and subtract only this objectionable noise from the file. The hum will be gone during silent sections.

A setting between 10 and 20dB is a good compromise between affecting the audio and reducing the noise. Set this slider to 15dB for now. Click the Advanced disclosure triangle for more options. Close Audition without saving anything click No to All in preparation for the next lesson. Removing artifacts Sometimes particular sounds will need to be removed, like a cough in the middle of a live performance. Audition can do this using the Spectral Frequency Display, which allows for editing based on not just amplitude and time as with the standard Waveform Editor , but also frequency.

This exercise shows you how to remove a cough in a perfor- mance by classical harpsichordist Kathleen McIntosh. A circular cursor that looks somewhat like a bandage icon appears. Adjust the size so that the circular will vary depending on the Spectral Frequency cursor is as wide as the cough. Be careful to drag over only the cough. The healing process takes audio on either side of the deleted audio, can try multiple times, and through a complex process of copying and crossfading, fills in the gap or even use this process caused by removing the artifact.

Alternate click removal You can use the Spectral Frequency Display to remove clicks. Although this is a manual process that is more time-consuming than using the Automatic Click Remover effect, the removal process will be more accurate and have less impact on the audio quality.

This selects the noise in both channels. The file sounds as if the clicks had never been there. This lesson takes a drum loop and uses the Spectral Frequency Display to remove four drum hits. Move both Gain sliders full left, and click Apply. With both Gain sliders full left, click Apply. Most of the sound from the hits is gone, but you can still hear a little bit of noise on the second and fourth hits.

The drum loop is the same as the original but without the four hits. P Note: The technique of drawing a lasso around artifacts can remove sounds like finger squeaks on guitar strings, clicks or pops, breathing while a person plays an instrument, and many other artifacts. However, with sufficient practice, this type of restoration is extremely effective. Name two ways other than restoration where these tools can be useful. Review answers 1 Automatic click removal is faster, but manual click removal can be more effective.

Subtracting this from the audio file removes the noise. As the final link in the music production chain, mastering can make or break a project. As a result, people often hand off projects to veteran mastering engineers, not just for their technical expertise, but to enlist a fresh, objective set of ears. However, if your goal with mastering is simply to make a good mix better, Audition provides the tools required for professional-level mastering.

The more you work with mastering, the more your skills will improve. In addition, remember that ideally the purpose of mastering is not to salvage a recording, but to enhance an already superb mix. Note how this tightens up the low end. The difference is subtle, but often mastering is about the cumulative effect of multiple subtle changes.

Sweep the Frequency back and forth between 20 and Hz, and note that the kick really stands out around 45Hz. Note that in the screen shot, unused bands have been turned off for clarity. Keep Audition open for the next lesson. This can also help the music overcome background noises found in many different listening environ- ments. This lesson uses the Multiband Compressor to control dynamics. Adding effects afterward could more apparent loudness.

Now drag up to 0. Also note that the Multiband Dynamics has emphasized being applied. After choosing the preset, click the Transport more cohesive feeling. Play button. Stereo imaging stretches the stereo image so the left channel moves more to the left, and the right channel moves more to the right.

In this lesson, increasing the stereo image helps separate the two guitars in the opposite channels even more. Only the Widener will be used.

P Note: The Apply function resets all effects to their default value. P Note: It can take years to become good at the art and science of mastering, especially if the file has problems 2 Play the file to hear the result of boosting these four drum hits.

EQ, dynamics, and some selected other 4 Click Apply. Audition applies the result of all the effects to the file and removes processors. Normally ambience is added during the mixing process but can sometimes improve the sound when added while mastering. Sound design can refer to music, but this lesson emphasizes sound effects and ambience. These types of sounds are also common in sonic logos like the sound you hear to identify Intel Inside or NBC or the sounds layered in movie scenes to create a particular mood.

Occasionally, against this engine sound backdrop, sudden, sharp sounds might appear to indicate a new leak breaking through the engine wall. Sound effects libraries are available from several companies, but a sound designer will often modify these or record sounds using a field recorder. For example, in the beginning of the movie Raiders of the Lost Ark, a giant boulder rolls toward Indiana Jones.

The sound of the rolling boulder was created by taping a microphone to the rear bumper of a Honda and recording the sound of the car backing down a gravel driveway. Subsequent sound design work turned this into a huge, ominous sound. Two files were recorded for the following lessons using a portable digital recorder: water running into a sink from a faucet and a wall fan.

Creating rain sounds With sound design, it helps to start with a sound in the same genre. To create rain, the running water would most likely produce a better end result than the recording of the fan. Click the Transport Play button to audition the loop.

Ensure that Range is 48dB and Master Gain is 0. With the EQ power on, you now have a light spring rain. You might find the effect more realistic if you bring the 8k slider down to dB. In this case there would be fewer high frequencies due to the house walls and windows blocking the highs. Keep this project open as you move to the next lesson.

Set and to 0, to , 1k to , 2k to , and 4k to As the character moves closer to the brook, increase 2k to and 4k to Now the brook sounds closer.

Keep this project open as you move on to the next lesson. This lesson demonstrates how signal processing can turn one sound into something completely different. It will take several seconds for processing to occur. Click the Transport Play button pitch shifting can add anomalies, like volume to hear the processed sound. If so, make an audio reverb. Stop playback by clicking the Transport Stop button so the first and last two you can select a reverb preset.

Extreme shifting may also lower the volume, 8 Click the Transport Play button, and listen to your refined insects at night sound. The settings should be the same as they were previously, but if not, choose the preset Default from the drop-down menu. Normalize All Channels Equally should also be selected.

The Reverb should still have the Great Hall preset selected. Move the Decay, Width, Diffusion, and Wet sliders all the way to the right. Move the Dry slider all the way to the left. When you click the Transport Play button, you should now hear an ethereal, animated pad.

Select the preset Spooky. Select the preset 10 Voices. Note how extensive pitch stretching coupled with effects from the Studio Reverb, Echo, and Chorus can turn running water into an alien soundscape. Creating sci-fi machine effects Just as you used running water to generate water-based effects, the fan sound makes a good basis for machine and mechanical sounds. This lesson describes how to turn an ordinary wall fan sound into a variety of science-fiction, spaceship sound effects.

Click the Transport Play button to hear what the file sounds like. Click OK; processing will take a few seconds. From the Presets drop-down menu, choose Drum Suite. Click the Transport Play button, and note how the sound becomes more metallic and machine-like. If the preset Default is not already selected, choose it from the Presets drop-down menu.

Pull the H box all the way down and left to around 3kHz. Click the Band 2 button to enable that parametric stage. Set the Decay, Width, Diffusion, and Wet sliders all the way to the right. Click the Transport Play button. Leave this project open in preparation for the next lesson. Creating an alien drone flyby In addition to creating static sound effects, Audition includes a Doppler Shifter processor that imparts motion—from left to right, around in circles, tracing an arc, and so on.

Choose the preset Lowest Fidelity from the Presets drop-down menu. Click the Transport Play button to hear the drone fly by from left to right. Using the slider would make it almost impossible to choose this precise a value. This one of these lessons. If necessary, review Lesson 1 to make sure you understand the principles behind interfacing. This lesson assumes you know how to map inputs and outputs. The input level should never interface will have either a physical meter or dedicated control panel software that go into the red on a level meter.

Enter the File Name RecordNarration. However, for this lesson choose Hz—the standard for CD audio—as the sample rate from the drop-down menu. Sample rates lower than Hz are of very low fidelity and are generally used for speech, dictation, toys, and so on.

Most studies show that few people can accurately tell the difference between and or higher sample rates. Higher sample rates also require more storage space; that is, a one- minute 96kHz file will require twice the space as the same file at 48kHz. For a mic or electric guitar, choose Mono.

For a portable music player or other stereo signal source, choose Stereo. The option 5. Files that are bits take up 50 percent more space than bit files, but given the low cost of hard disk storage, this is an acceptable trade-off. They take up more space, and many programs are not compatible with bit float files. For Windows users, also verify that the Device Class and Device settings are correct. Dock the meters horizontally along the bottom of your workspace for the best meter resolution.

Recording begins immediately. Speak into the mic or play back whatever sound source connects to your interface. Recording will pause, but the meters will still show the incoming signal level. The waveform you recorded will be selected. If you 16 Record for a few seconds, and click Stop. The audio between where you started make a mistake in a particular line, click at and stopped recording will be selected. This lesson shows you how to record into practice to have a separate, high-speed the Multitrack Editor, explains how to transfer your recording into the Waveform at least rpm Editor for editing, and then describes how to return it to the Multitrack Editor.

This separates A dialog box appears with fields for an editable File Name, Folder Location for streaming audio on the audio drive from storing the project, and project Template. The dialog box also includes Sample program operations on Rate and Bit Depth fields identical to those in the New Audio File dialog box, your main drive. Also, and a Master field that determines whether the output is Mono, Stereo, or a backing up the audio drive backs up all of surround format if supported by your interface.

For this tutorial, accept the default folder. If you want to edit these settings, select None for Template. The Multitrack Editor opens. A track can be stereo or mono. Record your signal source for at least 15—20 seconds. As when recording in the Waveform Editor, you can pause and resume recording by clicking the Pause button. Then click Stop. Notice that there is a separate layer recorded on top of the previously recorded track.

By clicking on it, you can drag it left or right, as well as drag it down into Track 2. P Note: To transfer the file back into the Multitrack Editor at the position from which it came, click the Multitrack button or type 0. The file can be in any file format that Audition recognizes; in the Multitrack Editor, it will automatically be converted to the project settings. For example, if you created a project with bit resolution, you can bring it in as a bit WAV file or even an MP3 format file.

With the Waveform Editor, you simply drag the file from the desktop into the edi- tor. This lesson demonstrates how to drag and drop a file into the Multitrack Editor. Leave the default folder location as is, and select 24 Track Music Session as the template. A yellow line appears where the dragged file will start; this should be flush with the beginning of the track. Release the mouse button. You can click on this line and drag up or down 6 These tracks were recorded at a high volume, and they are overloading the to decrease or increase, output.

The sound is now undistorted, and none of the meters go into the red clipping zone. However, you can access a func- tion that extracts audio from CDs and places it into the Waveform Editor. You can then edit it or transfer it to the Multitrack Editor as described previously. You need a standard audio CD to complete this lesson.

A dialog box appears that shows the drive, and if the computer is connected to the Internet, Audition retrieves information from the freedb database to populate the Track, Title, and Duration fields. Leave it at the default Maximum Speed ; if errors occur during the extraction process, choose a slower speed.

They will be extracted one at a time, each as a separate file. You need to extract only one track for this lesson, so click the Toggle All button to deselect all tracks, and then select one track. The extraction process begins and places the audio in the Waveform Editor.

Audition includes several template files for Multitrack Sessions, but you can also create your own. These settings will be incorporated into the template. Click Session Templates, click Open, and then click Save. Click Session Templates, and then click Save.

Next time you open a new Multitrack Session, the template you created will be available in the drop-down menu of templates. In the Waveform Editor, a single clip is the only audio element. A multitrack pro- duction assembles multiple audio clips to create a musical composition. For example, one track could contain drum sounds, another bass, a third vocals, and so on. A track can contain a single long clip or multiple short clips that can be identical or different.

A clip can even be positioned on top of another clip in a track however, only the clip that is on top will play back , or clips can overlap to create crossfades described in Lesson This involves recording or importing audio into the Multitrack Session.

For example, with a rock band, tracking could consist of recording drums, bass, guitar, and vocals. These might be recorded individually each player records a track, typically while listening to a metronome for reference in particular combinations e. This is the process of recording additional tracks. For example, a singer might sing a harmony line to supplement the original vocal. After recording the tracks, editing can polish them.

For example, with a vocal track you could remove the audio between verses and choruses to reduce any residual noise or leakage from other instruments. You might even alter the arrangement, like cut a solo section to half its original length.

After editing, the tracks are blended together into a final stereo or processes are available surround file. The mixing process primarily involves adjusting levels and adding only in one editor or the other. If a menu effects. A Multitrack Session in Audition CS6 provides the tools to do basic option is gray in either editing tasks during the mixing process, but if detailed edits are needed, Session editor, that option is not audio can be transferred to the Waveform Editor for further editing.

Multitrack and Waveform Editor integration A unique Adobe Audition feature is that it offers different environments for wave- form editing and multitrack production. In addition, these are not isolated from each other. This lesson illustrates how the Multitrack and Waveform Editors work together. Like the Waveform Editor, the Multitrack Editor plays linearly from However, there is only one physical clip, which start to finish.

However, because the Multitrack Editor consists of multiple, is stored in RAM; the parallel tracks, each of which can play back a clip, multiple clips can play back graphic clips in the simultaneously. Play the song to become familiar with it. Multitrack Editor just reference the physical 3 To check out the Waveform and Multitrack Editor integration, click the first clip clip. It shows all the clips times, as instructed by in the Multitrack Session so that you can choose any of them for editing.

The looped area will play continuously. One section has a fixed set of controls, whereas the other section is an simultaneously by placing the cursor over area whose controls change according to a particular selected function. To reveal the track controls area these controls, complete the following steps. Main track controls P Note: If both the The main track controls are the most commonly adjusted parameters for mixing.

Note that the Mute button is green when active and gray when it is off not muted. Only the Main Drums track will sound. Choose a setting of 20 to reduce most clicks while minimally affecting the audio. Higher settings allow Audition to recognize more complex clicks but requires more computation and may degrade the audio somewhat. This is not a real-time control, so you need to adjust it, play the audio, adjust, play, and so on.

For now, click the Transport Stop button, and then move the slider to Because this is a computation-intensive process, during real-time playback Audition may not be able to process a click prior to playing it back. Note that this closes the Automatic Click Remover processor. Move the complexity slider to 35, and click Apply again. Click the variations. If these sounds are relatively constant, Audition can reduce or remove them using the Noise Reduction process.

This process can also reduce hiss and allow for more detailed editing compared to the Hiss Reduction option. As with reducing hiss, Audition will take a noise print of the hum and subtract only this objectionable noise from the file.

The hum will be gone during silent sections. A setting between 10 and 20dB is a good compromise between affecting the audio and reducing the noise. Set this slider to 15dB for now. Click the Advanced disclosure triangle for more options. Close Audition without saving anything click No to All in preparation for the next lesson. Removing artifacts Sometimes particular sounds will need to be removed, like a cough in the middle of a live performance.

Audition can do this using the Spectral Frequency Display, which allows for editing based on not just amplitude and time as with the standard Waveform Editor , but also frequency. This exercise shows you how to remove a cough in a perfor- mance by classical harpsichordist Kathleen McIntosh. A circular cursor that looks somewhat like a bandage icon appears. Adjust the size so that the circular will vary depending on the Spectral Frequency cursor is as wide as the cough.

Be careful to drag over only the cough. The healing process takes audio on either side of the deleted audio, can try multiple times, and through a complex process of copying and crossfading, fills in the gap or even use this process caused by removing the artifact. Alternate click removal You can use the Spectral Frequency Display to remove clicks. Although this is a manual process that is more time-consuming than using the Automatic Click Remover effect, the removal process will be more accurate and have less impact on the audio quality.

This selects the noise in both channels. The file sounds as if the clicks had never been there. This lesson takes a drum loop and uses the Spectral Frequency Display to remove four drum hits. Move both Gain sliders full left, and click Apply. With both Gain sliders full left, click Apply. Most of the sound from the hits is gone, but you can still hear a little bit of noise on the second and fourth hits. The drum loop is the same as the original but without the four hits.

P Note: The technique of drawing a lasso around artifacts can remove sounds like finger squeaks on guitar strings, clicks or pops, breathing while a person plays an instrument, and many other artifacts. However, with sufficient practice, this type of restoration is extremely effective.

Name two ways other than restoration where these tools can be useful. Review answers 1 Automatic click removal is faster, but manual click removal can be more effective. Subtracting this from the audio file removes the noise. As the final link in the music production chain, mastering can make or break a project. As a result, people often hand off projects to veteran mastering engineers, not just for their technical expertise, but to enlist a fresh, objective set of ears.

However, if your goal with mastering is simply to make a good mix better, Audition provides the tools required for professional-level mastering. The more you work with mastering, the more your skills will improve. In addition, remember that ideally the purpose of mastering is not to salvage a recording, but to enhance an already superb mix.

Note how this tightens up the low end. The difference is subtle, but often mastering is about the cumulative effect of multiple subtle changes.

Sweep the Frequency back and forth between 20 and Hz, and note that the kick really stands out around 45Hz. Note that in the screen shot, unused bands have been turned off for clarity.

Keep Audition open for the next lesson. This can also help the music overcome background noises found in many different listening environ- ments. This lesson uses the Multiband Compressor to control dynamics. Adding effects afterward could more apparent loudness.

Now drag up to 0. Also note that the Multiband Dynamics has emphasized being applied. After choosing the preset, click the Transport more cohesive feeling. Play button. Stereo imaging stretches the stereo image so the left channel moves more to the left, and the right channel moves more to the right.

In this lesson, increasing the stereo image helps separate the two guitars in the opposite channels even more. Only the Widener will be used. P Note: The Apply function resets all effects to their default value. P Note: It can take years to become good at the art and science of mastering, especially if the file has problems 2 Play the file to hear the result of boosting these four drum hits.

EQ, dynamics, and some selected other 4 Click Apply. Audition applies the result of all the effects to the file and removes processors. Normally ambience is added during the mixing process but can sometimes improve the sound when added while mastering. Sound design can refer to music, but this lesson emphasizes sound effects and ambience.

These types of sounds are also common in sonic logos like the sound you hear to identify Intel Inside or NBC or the sounds layered in movie scenes to create a particular mood. Occasionally, against this engine sound backdrop, sudden, sharp sounds might appear to indicate a new leak breaking through the engine wall. Sound effects libraries are available from several companies, but a sound designer will often modify these or record sounds using a field recorder.

For example, in the beginning of the movie Raiders of the Lost Ark, a giant boulder rolls toward Indiana Jones. The sound of the rolling boulder was created by taping a microphone to the rear bumper of a Honda and recording the sound of the car backing down a gravel driveway. Subsequent sound design work turned this into a huge, ominous sound.

Two files were recorded for the following lessons using a portable digital recorder: water running into a sink from a faucet and a wall fan. Creating rain sounds With sound design, it helps to start with a sound in the same genre. To create rain, the running water would most likely produce a better end result than the recording of the fan. Click the Transport Play button to audition the loop. Ensure that Range is 48dB and Master Gain is 0. With the EQ power on, you now have a light spring rain.

You might find the effect more realistic if you bring the 8k slider down to dB. In this case there would be fewer high frequencies due to the house walls and windows blocking the highs. Keep this project open as you move to the next lesson. Set and to 0, to , 1k to , 2k to , and 4k to As the character moves closer to the brook, increase 2k to and 4k to Now the brook sounds closer.

Keep this project open as you move on to the next lesson. This lesson demonstrates how signal processing can turn one sound into something completely different.

It will take several seconds for processing to occur. Click the Transport Play button pitch shifting can add anomalies, like volume to hear the processed sound. If so, make an audio reverb. Stop playback by clicking the Transport Stop button so the first and last two you can select a reverb preset.

Extreme shifting may also lower the volume, 8 Click the Transport Play button, and listen to your refined insects at night sound. The settings should be the same as they were previously, but if not, choose the preset Default from the drop-down menu.

Normalize All Channels Equally should also be selected. The Reverb should still have the Great Hall preset selected. Move the Decay, Width, Diffusion, and Wet sliders all the way to the right.

Move the Dry slider all the way to the left. When you click the Transport Play button, you should now hear an ethereal, animated pad.

Select the preset Spooky. Select the preset 10 Voices. Note how extensive pitch stretching coupled with effects from the Studio Reverb, Echo, and Chorus can turn running water into an alien soundscape. Creating sci-fi machine effects Just as you used running water to generate water-based effects, the fan sound makes a good basis for machine and mechanical sounds. This lesson describes how to turn an ordinary wall fan sound into a variety of science-fiction, spaceship sound effects.

Click the Transport Play button to hear what the file sounds like. Click OK; processing will take a few seconds. From the Presets drop-down menu, choose Drum Suite. Click the Transport Play button, and note how the sound becomes more metallic and machine-like. If the preset Default is not already selected, choose it from the Presets drop-down menu. Pull the H box all the way down and left to around 3kHz.

Click the Band 2 button to enable that parametric stage. Set the Decay, Width, Diffusion, and Wet sliders all the way to the right. Click the Transport Play button. Leave this project open in preparation for the next lesson. Creating an alien drone flyby In addition to creating static sound effects, Audition includes a Doppler Shifter processor that imparts motion—from left to right, around in circles, tracing an arc, and so on. Choose the preset Lowest Fidelity from the Presets drop-down menu.

Click the Transport Play button to hear the drone fly by from left to right. Using the slider would make it almost impossible to choose this precise a value. This one of these lessons. If necessary, review Lesson 1 to make sure you understand the principles behind interfacing. This lesson assumes you know how to map inputs and outputs. The input level should never interface will have either a physical meter or dedicated control panel software that go into the red on a level meter.

Enter the File Name RecordNarration. However, for this lesson choose Hz—the standard for CD audio—as the sample rate from the drop-down menu. Sample rates lower than Hz are of very low fidelity and are generally used for speech, dictation, toys, and so on.

Most studies show that few people can accurately tell the difference between and or higher sample rates. Higher sample rates also require more storage space; that is, a one- minute 96kHz file will require twice the space as the same file at 48kHz. For a mic or electric guitar, choose Mono. For a portable music player or other stereo signal source, choose Stereo. The option 5.

Files that are bits take up 50 percent more space than bit files, but given the low cost of hard disk storage, this is an acceptable trade-off. They take up more space, and many programs are not compatible with bit float files. For Windows users, also verify that the Device Class and Device settings are correct. Dock the meters horizontally along the bottom of your workspace for the best meter resolution. Recording begins immediately. Speak into the mic or play back whatever sound source connects to your interface.

Recording will pause, but the meters will still show the incoming signal level. The waveform you recorded will be selected. If you 16 Record for a few seconds, and click Stop. The audio between where you started make a mistake in a particular line, click at and stopped recording will be selected. This lesson shows you how to record into practice to have a separate, high-speed the Multitrack Editor, explains how to transfer your recording into the Waveform at least rpm Editor for editing, and then describes how to return it to the Multitrack Editor.

This separates A dialog box appears with fields for an editable File Name, Folder Location for streaming audio on the audio drive from storing the project, and project Template.

The dialog box also includes Sample program operations on Rate and Bit Depth fields identical to those in the New Audio File dialog box, your main drive. Also, and a Master field that determines whether the output is Mono, Stereo, or a backing up the audio drive backs up all of surround format if supported by your interface.

For this tutorial, accept the default folder. If you want to edit these settings, select None for Template. The Multitrack Editor opens. A track can be stereo or mono. Record your signal source for at least 15—20 seconds. As when recording in the Waveform Editor, you can pause and resume recording by clicking the Pause button.

Then click Stop. Notice that there is a separate layer recorded on top of the previously recorded track. By clicking on it, you can drag it left or right, as well as drag it down into Track 2. P Note: To transfer the file back into the Multitrack Editor at the position from which it came, click the Multitrack button or type 0.

The file can be in any file format that Audition recognizes; in the Multitrack Editor, it will automatically be converted to the project settings. For example, if you created a project with bit resolution, you can bring it in as a bit WAV file or even an MP3 format file.

With the Waveform Editor, you simply drag the file from the desktop into the edi- tor. This lesson demonstrates how to drag and drop a file into the Multitrack Editor.

Leave the default folder location as is, and select 24 Track Music Session as the template. A yellow line appears where the dragged file will start; this should be flush with the beginning of the track. Release the mouse button. You can click on this line and drag up or down 6 These tracks were recorded at a high volume, and they are overloading the to decrease or increase, output. The sound is now undistorted, and none of the meters go into the red clipping zone. However, you can access a func- tion that extracts audio from CDs and places it into the Waveform Editor.

You can then edit it or transfer it to the Multitrack Editor as described previously. You need a standard audio CD to complete this lesson. A dialog box appears that shows the drive, and if the computer is connected to the Internet, Audition retrieves information from the freedb database to populate the Track, Title, and Duration fields. Leave it at the default Maximum Speed ; if errors occur during the extraction process, choose a slower speed.

They will be extracted one at a time, each as a separate file. You need to extract only one track for this lesson, so click the Toggle All button to deselect all tracks, and then select one track. The extraction process begins and places the audio in the Waveform Editor. Audition includes several template files for Multitrack Sessions, but you can also create your own.

These settings will be incorporated into the template. Click Session Templates, click Open, and then click Save. Click Session Templates, and then click Save. Next time you open a new Multitrack Session, the template you created will be available in the drop-down menu of templates.

In the Waveform Editor, a single clip is the only audio element. A multitrack pro- duction assembles multiple audio clips to create a musical composition. For example, one track could contain drum sounds, another bass, a third vocals, and so on.

A track can contain a single long clip or multiple short clips that can be identical or different. A clip can even be positioned on top of another clip in a track however, only the clip that is on top will play back , or clips can overlap to create crossfades described in Lesson This involves recording or importing audio into the Multitrack Session.

For example, with a rock band, tracking could consist of recording drums, bass, guitar, and vocals. These might be recorded individually each player records a track, typically while listening to a metronome for reference in particular combinations e.

This is the process of recording additional tracks. For example, a singer might sing a harmony line to supplement the original vocal. After recording the tracks, editing can polish them. For example, with a vocal track you could remove the audio between verses and choruses to reduce any residual noise or leakage from other instruments. You might even alter the arrangement, like cut a solo section to half its original length. After editing, the tracks are blended together into a final stereo or processes are available surround file.

The mixing process primarily involves adjusting levels and adding only in one editor or the other. If a menu effects. A Multitrack Session in Audition CS6 provides the tools to do basic option is gray in either editing tasks during the mixing process, but if detailed edits are needed, Session editor, that option is not audio can be transferred to the Waveform Editor for further editing.

Multitrack and Waveform Editor integration A unique Adobe Audition feature is that it offers different environments for wave- form editing and multitrack production. In addition, these are not isolated from each other. This lesson illustrates how the Multitrack and Waveform Editors work together. Like the Waveform Editor, the Multitrack Editor plays linearly from However, there is only one physical clip, which start to finish.

However, because the Multitrack Editor consists of multiple, is stored in RAM; the parallel tracks, each of which can play back a clip, multiple clips can play back graphic clips in the simultaneously. Play the song to become familiar with it.

Multitrack Editor just reference the physical 3 To check out the Waveform and Multitrack Editor integration, click the first clip clip. It shows all the clips times, as instructed by in the Multitrack Session so that you can choose any of them for editing. The looped area will play continuously.

One section has a fixed set of controls, whereas the other section is an simultaneously by placing the cursor over area whose controls change according to a particular selected function.

To reveal the track controls area these controls, complete the following steps. Main track controls P Note: If both the The main track controls are the most commonly adjusted parameters for mixing. This innovative product is a focused video workshop that will teach editors how to create, edit, and enhance audio for broadcast, film, and video, using Adobe Audition CS6. You will be introduced to the Audition interface and standard workflows so that you can find your way around the software and carry out your audio work quickly and easily.

The guide is divided. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy. Adobe Acrobat SDK 9. This explanation is not intended to replace the user s manual for Cubase LE 5.

Also, since Cubase. Recording Audio in GarageBand GarageBand, part of the ilife suite of applications, turns the Mac into a versatile multitrack audio recording studio. Using GarageBand, you and your students can compose. Step by step guide to using Audacity Contents 1 – Introduction No part of this manual, including the products and software described in it,.

With itunes you can easily import songs from your favorite CDs or purchase them from the itunes Store. You can download. Other user-guides are available at. Workshop Objectives Become familiar with the Final Cut Pro workspace, basic editing, capturing footage, using tools, exporting to tape, or QuickTime.

Learn effective workflow and file management strategies. The program has been created with the help of professional DJ s in both the United States and Europe. Getting Started with Vision 6 Version 6. Portions used under license from third parties. Please send any comments to: Netop. Creating a Digital Movie with Pinnacle Studio v. Adobe Acrobat 6. You will also learn some of Adobe s collaborative functions,.

Lightworks v12 Quick Start Guide Lightworks v12 Copyright and Disclaimer Copyright by EditShare This document, as well as any software described in it, is furnished under either a license or a confidentiality. Need music for your imovie HD video. In This Guide Microsoft PowerPoint looks very different, so we created this guide to help you minimize the learning curve. Read on to learn key parts of the new interface, discover free PowerPoint. Open System Properties. Use Device Manager. Understand hardware profiles.

Set performance options. It can be downloaded. With PowerPoint, you can create engaging presentations that can be presented in person, online,. To expand. A navigation bar. What is Final Cut. Kinoma Producer 2 Version 2. Before using this software, please read the End User License Agreement that is supplied together with this software. Hypercosm Studio www. How to create pop-up menus Pop-up menus are menus that are displayed in a browser when a site visitor moves the pointer over or clicks a trigger image.

Items in a pop-up menu can have URL links attached. Under the copyright laws, this manual may not be copied, in whole. Step-by-Step Guide Create an interactive syllabus for your students In a world of instant messaging and social media, many instructors find the traditional text and paper approach to publishing a course. Sim sound SimSound is an engaging multimedia game for year old that aims to use the context of music recording to introduce a range of concepts about waves.

Sim sound encourages pupils to explore. Accessing Microsoft PowerPoint To access Microsoft PowerPoint from your home computer, you will probably either use the Start menu to select the program or double-click on an icon on the Desktop.

To open. Main features Appendix A. It allows you to create unlimited patterns within a song, and each pattern. Migrating to Excel – Excel – Microsoft Office 1 of 1 In This Guide Microsoft Excel looks very different, so we created this guide to help you minimize the learning curve. Read on to learn key. Interactivity in Powerpoint Powerpoint includes a small set of actions that can be set to occur when the user clicks, or simply moves the cursor over an object. These actions consist of links to other.

The Rack in Detail Adding Plugins to a Rack Rack View: Controlling Your Plug-ins Trademarks are used for informational purposes, and remain the property of their owners. Part number Step-by-Step Guide Cut a video into multiple short clips Separating the highlights and key messages from hours of raw footage requires a tool that makes for easy clipping and painless export to multiple.

All rights. Introduction This paper tutorial is designed as a basic introduction to Microsoft. Log in Registration. Search for. Adobe Audition CS6 classroom in a book. The official training workbook from Adobe Systems. Size: px. Start display at page:. Download “Adobe Audition CS6 classroom in a book.

The official training workbook from Adobe Systems”. Amos Gray 5 years ago Views:. View more. Similar documents. Audition CC. If More information. Mbox Basics Guide. Version 6. Digidesign Mbox Basics Guide Version 6. More information. Mbox 2. Version 7. This guide may not be duplicated in whole or in part without the express written consent of More information. Table of contents.

Quick Start Basic operation Creating your own sounds No Feedback a setting of 0 produces a effect. For 4 With feedback at 50, set the Trash control to Vary the loop tempo is feedback, being careful to avoid excessive, runaway feedback.

Keep Audition open for the note is The Lesson04 folder includes a file called Period vs. For example, if the response is set to be brighter than normal, each echo will be brighter than the previous one. E Tip: To set both 2 Compared to the previous delay effects, Echo has yet another way of setting the channels to the same echo mix; each channel has an Echo Level control that dials in the echo amount.

Delay Time, enable Lock Left and Right. The Dry signal is fixed. That makes it easier to hear the difference moving a single slider has on the sound. Now the echoes are brighter. The echoes are now bassy. Filter and eQ effects Equalization is an extremely important effect for adjusting tonality.

Adobe Audition has four different equalizer effects, each used for different purposes, that can adjust tonality and solve frequency-response related problems: Parametric Equalizer, Graphic Equalizer, FFT Fast Fourier Transform Filter, and Notch Filter.

Parametric equalizer The Parametric Equalizer offers nine stages of equalization. Each parametric equalization stage has three parameters. The Parametric Equalizer is capable of high amounts of gain at the selected frequencies.

Start playback. Each represents a controllable parametric stage. Click one of them e. Drag left to affect lower frequencies or right to affect higher frequencies.

Listen to how this changes the sound. The L and H squares control a low shelf and high shelf response, respectively. This starts boosting or cutting at the selected frequency, but the boost or cut extends outward toward the extremes of the audio spectrum. Note how this increases the treble. Similarly, click on the L box to hear how this affects the low frequencies.

There are two additional stages, Highpass and Lowpass, which you enable by clicking on the HP and LP buttons, respectively. Click those buttons now. A Highpass filter is helpful for removing subsonic very low-frequency energy. Click on the HP box and drag it to the right to hear how it affects low frequencies.

Note how this creates a gradual curve. Keep this project open for the next lesson. The screen shot shows a steep along the bottom of Highpass slope, a slight parametric boost with stage 2, a narrow parametric cut the screen has three additional options. Constant Q, where Q is a ratio compared to frequency, is most common, whereas Constant Width means the Q is the same regardless of frequency. The Ultra-Quiet option reduces noise and artifacts but requires much more processing power and can usually be left off.

Range sets the maximum amount of boost or cut to 30dB or 96dB. The more common option is 30dB. Caution: In the following lesson, keep monitor levels down as you make adjustments. The Graphic Equalizer can produce high amounts of gain at specific frequencies. Move the various sliders up and down to hear how each affects the timbre through varying the level within their respective frequency bands. In musical terms, each slider is an octave apart.

Keep Audition open in preparation for the next lesson. P Note: The strip along the bottom of the Graphic Equalizer screen has three additional parameters. Range sets the maximum available amount of boost or cut up to dB which is a lot! Accuracy affects low-frequency processing. Otherwise, leave it at the default of points to reduce CPU loading.

Master gain compensates for Output level changes caused by using the EQ. Turn it down if you added lots of boosting; turn it up if you used lots of cutting.

To hear how it works, follow the same basic procedure as the lesson for the 10 Bands version. The default settings are a practical point of departure. FFT is a highly efficient algorithm commonly used for frequency analysis. You can then drag this point up, down, or sideways. You are not limited to the number of points you can add, which allows you to make very complex—and even truly bizarre—EQ curves and shapes. The screen shot on the left shows Spline Curves deselected and the original placement of points, whereas the screen shot on the right shows Spline Curves selected.

P Note: As for other FFT Filter parameters, for Scale choose Logarithmic when working primarily with low frequencies because this produces the best resolution for drawing in nodes. Linear has the same advantage at high frequencies. For the Advanced options, for the best accuracy with steep, precise filters, choose higher values like to Lower values produce fewer transients with percussive sounds.

For Window, Hamming and Blackman are the best overall choices. The choices listed first narrow the shape of the response curve with subsequent choices progressively widening the shape. Note the huge amount of hum in the file. Turn off notches 3, 4, 5, and 6. Turn off notches 1 and 2. Experiment with the Gain parameters for notches 1 and 2. These tend to produce very specific sounds, and the presets included with Adobe Audition are a good place to start.

But there will also be some analysis of which parameters are most important for editing. The Chorus effect is optimized for stereo signals, so convert mono signals to stereo for best results. Then click OK. Play the file to hear what it sounds like. Select Highest Quality; most modern computers can provide the additional processing power this option needs. If the audio crackles or breaks up, deselect this option. Notice how the sound becomes more animated. To make this more obvious, increase the Modulation Rate to 2.

Return Modulation Depth to 0. Because this adds a lot more audio, you may need to bring down the Output control in the Effects Rack panel to avoid distortion. Set it to around 40ms for now. Set it to around ms. Stereo Field makes the output narrower or wider.

If you like the sound better, leave them selected. Note that some of the more bizarre sounds combine lots of modulation, feedback, or long delay times. Alter the Feedback setting; more feedback produces a more resonant sound. Stereo Phasing changes the phase relationship of the modulation; when set to 0, the modulation is the same in both channels.

Increase the Phasing amount to offset the modulation in the two channels, which creates more of a stereo effect. Vary the Modulation Rate to change the modulation speed. Experiment with these options. Selecting Inverted changes the tone. The effect varies depending on the other parameter settings. Many of the more radical patches use either high Modulation Rates, large amounts of Feedback, longer Initial or Final Delay Times, or a combination of these.

Speed provides the same function as Modulation Rate. Phaser The Phaser effect is similar to Flanging but has a different, and often more subtle, character because it uses a specific type of filtering called an allpass filter to accom- plish its effect instead of delays. Play the file. Change the Upper Freq to around Hz. The farther you move the Phase Difference away from the center 0 position, the greater the stereo effect.

Leave it at for now. Leave it at 0. Note how at faster settings the effect is almost like vibrato. Return it to 0. This complements the Upper Frequency parameter, which is the highest frequency that Modulation attains. Moving the value toward 0 increases the proportion of dry signal to wet signal, whereas moving the value toward increases the proportion of wet signal to dry signal.

Experiment with these parameters to hear how they affect the sound. These include the ability to remove noise, delete pops and clicks, minimize the sound caused by scratches in vinyl records, reduce tape hiss, and more. Two common reverb processes are convolution reverb and algorithmic reverb. Audition includes both. Convolution Reverb is generally the more realistic sounding of the two. It loads an impulse, which is an audio signal typically WAV file format that embodies the characteristics of a particular, fixed acoustic space.

The effect then performs convolution, a mathematical operation that operates on two functions the impulse and the audio to create a third function that combines the impulse and the audio, thus impressing the qualities of the acoustic space onto the audio.

The trade-off for realism is a lack of flexibility. Algorithmic Reverb creates an algorithm mathematical model of a space with variables that allow for changing the nature of that space. All Audition reverbs other than the Convolution Reverb use algorithmic reverb technology. Each type of reverb is useful. However, it is a CPU-intensive process.

Note how each impulse produces a different reverb character. Move the Damping E Tip: You can use LF slider to the left to simulate the effect of a room with lots of sound-absorbing Convolution Reverb to load most WAV files material, which absorbs high frequencies more readily than low frequencies.

Online sources offer free impulses that work with 8 Pre-Delay sets the time before a sound first occurs and when it reflects off a standard convolution surface. Also, you can load phrases, loops, slider to the left to narrow the image. These can be valuable for sound design and Studio reverb special effects. Many of the Full Reverb and Reverb parameters cannot be adjusted during playback, because they are very CPU-intensive.

Drag the minimum, can add a Decay slider all the way to the left, and then vary the Early Reflections slider. Increasing early reflections creates an effect somewhat like a small acoustic This can make narration space with hard surfaces. Adjust the Width control to set the stereo imaging, from narrow 0 to wide Move the slider more to the left to reduce the high frequencies for a darker sound or more to the right for a brighter sound.

The difference between damping and High Frequency Cut is that damping applies progressively more high-frequency attenuation the longer a sound decays, whereas the high frequency cut is constant. Experiment with damping. In general, high-diffusion settings are common with percussive sounds; low-diffusion settings are used with sustaining sounds e.

Also, you cannot adjust the reverb characteristics in real time—only when playback is stopped. You can edit the dry and wet levels at any time. Leave Audition open. Full reverb Full Reverb is a convolution-based reverb and is the most sophisticated of the various reverbs but also the most impractical to use because of the heavy CPU loading.

No parameters other than the level controls for dry, reverb, and early reflections levels can be adjusted during playback, and even then, the level control settings take several seconds to take effect however, if you stop playback and adjust them, the change occurs immediately on playback. Also, if you change any of the non-level reverb parameters while stopped, it can take several seconds before playback begins.

However, the Early Reflections options are more sophisticated than any of the other reverbs. With playback stopped, turn the Dry and Reverberation Output Level controls to 0 and Early Reflections to so you can easily hear the results of changing the related parameters. Bigger room sizes create longer reverbs. Dimension sets the ratio of width to depth; values below 0. This sets the time before the coloration EQ takes effect.

Set it to 0 as you experiment with the parametric parameters so you can hear the results as quickly as possible. Load various presets to get a sense of the sounds this effect can create, and then return to the Default preset.

Click at the intersection of the two levels on the X and Y axes. Dragging the node to the left also increases distortion by allowing lower levels to distort. Continue adding and P Note: Regarding moving nodes to hear how this affects the sound. When there are multiple the other Distortion parameters, dB Range nodes, you can smooth the curve that incorporates them by increasing the changes the range Curve Smoothing parameter value.

With the graphs unlinked, bring the upper-right square for one of Linear scale changes the calibration; the graphs down to dB. Leave changes, particularly at lower frequencies. Processing a bass with a hint of when editing. Because guitar is a percussive instrument, many guitar players use compression to even out the dynamic range and produce more sustain.

Fifteen types are available, including a cabinet for bass guitar. E Tip: Many guitar 3 Call up the preset Big and Dumb, which makes a great start for a classic rock sounds use distortion. However, you want to avoid unintentional 4 Vary the Compressor Amount slider.

The sound will be more percussive to the distortion caused by left and more sustained with a slight volume drop to the right. Set the Amount overloading within Audition and use to 70 before proceeding. Try the three different distortion types from the Distortion processor. Guitar Type drop-down menu, and vary the Amount slider.

Garage Fuzz is more processors can cause punk, Smooth Overdrive more rock, and Straight Fuzz emulates the sound of a wide level swings, so pay close attention to distortion effect box rather than an amp. Input and Output controls to make sure 6 That sound seems a little harsh, but you can make it smoother with the filter. Also note that there are six non-amp and special FX sounds.

Bypassing the Amplifier emphasizes just how much speakers and cabinets influence the tone. Deselect the Filter bypass check box. Therefore, reducing signal levels due to filtering will result in less distortion.

Often, this is the sound you want, but if you feel the overall level is too low, move the Distortion Amount slider to the right to compensate. For a big, metal sound, set Freq to around Hz and Resonance to 20 to produce a little response peak at that frequency.

Turn up Resonance if you really want to go overboard. With Resonance at 0, move the Freq slider across its range. The peak level will be around 1kHz; moving the Freq slider to either side reduces the level somewhat and also changes the timbre.

Load the Big And Dumb preset. Its parameters work similarly to the same parameters in the Parametric Equalizer effect. The Equalizer also includes a real-time graph in the background that shows the current frequency response spectrum. Adds ambience if needed. Allows for widening or narrowing the stereo image. Is a dynamics processor that increases the average level for a louder sound without exceeding the available headroom. Can be adjusted to control the effect output and therefore compensate for any level changes due to adding various processes.

You’ll use the Mastering Suite to give greater clarity to a piece of music. Select Low Shelf Enable; a small X appears toward the left, which you click on and drag to change the shelf characteristics. Resume playback. Then drag down to about A little bit of Exciter effect goes a long way. Drag its slider to the right, and the sound will become way too bright. Because the song is already fairly bright, disable the Exciter effect by dragging its slider all the way to the left.

Note that the sonic difference among the three characters of Retro, Tape, and Tube becomes most noticeable with dull material and high Exciter amounts.

However, as with the Exciter, you can have too much of a good widest possible stereo thing. Excessive maximization can lead to ear fatigue, as well as make the music image to create a more dramatic sound. For this song, set it to 30 to provide a However, emphasizing useful boost without adding a distorted or unnatural sound.

For further infor- mation on either effect, refer to the Help files. Reversing the phase of one channel cancels out any material panned to center while leaving signals panned left and right alone. This is commonly used for karaoke to remove the vocal. Pull the Side Channel Levels control down all the way to isolate the bass. Start playback around 32 seconds. Bring up the Center Channel Level to hear the vocals. Choose the highest possible Crossover Bleed settings and the lowest possible Phase Discrimination, Amplitude Discrimination, and Amplitude Bandwidth settings that are consistent with sound quality and effectiveness.

Increasing the Spectral Decay Rate will often improve sound quality as well. These illustrate the range of music you can create The sole effect under the Time and Pitch effect, Automatic Pitch Correction, from commercially is designed for vocals and corrects the pitch of notes so that they are in tune.

This effect analyzes the vocal to extract the pitch, calculates how far off a note is from the cor- rect pitch, and then corrects the note by raising or lowering the pitch to compensate. Observe the vocal has vibrato, correction meter on the right: The red band indicates how far off the pitch is the pitch will go somewhat sharp and from the ideal. When the meter moves up, the pitch is sharp.

When the meter flat periodically. This moves down see screen shot , the pitch is flat. A centered meter indicates that is normal and usually the vocal is on pitch. If you do not know the Scale and Key choose Chromatic from the Scale drop-down menu, which simply corrects to the nearest semitone.

The vocal is in D but uses a flatted 7th note that is not part of the major scale. So, choose Chromatic P Note: As for the instead. In most cases, Chromatic will do the job.

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