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Adobe audition cs6 book pdf free |
Adobe audition cs6 book pdf free.Adobe Audition CS6 Classroom in a Book
Choose the Default preset, which provides neither compression nor expansion. Click in the middle of segment 1 e. Drag it up a little bit to around dB. Click on the line at dB and dB to create two more squares.
Click on the one at dB, and drag it down all the way to dB. This effect makes the drums sound more percussive. Bypass the dynamics processing, and and effects. By adding Make-Up gain, the documentation for processed signal is now a little bit louder. This is different from simple attenuation which lowers the levels of all signals , because in this example of limiting, levels below dB remain untouched. Levels above dB are compressed with an essentially infinite ratio, so any input level increase produces no output level increase above dB.
This limiter also has an Input Boost parameter, which can make a signal subjec- tively louder. In most cases the default is fine. Past a certain amount of input of thumb is to set it for the most natural sound. With no become unnatural. The level at which this will look-ahead time, the limiter has to react instantly to a transient, which is not occur varies depending possible: It has to know a transient exists before it can decide what to do with it.
With voice, instantaneous. The two most important parameters are Threshold the level above which compression starts to occur and Ratio, which sets the amount of change in the output signal for a given input signal change.
For example, with a ratio, a 4dB increase in input level produces a 1dB increase at the output. With an ratio, an 8dB increase in input level produces a 1dB increase at the output.
Also, delete any currently loaded effects. This shows how the Threshold and Ratio controls interrelate, and explains why you usually need to go back and forth between these two controls to dial in the right amount of compression.
Slowly increase the Ratio slider by moving it to the right. The farther you move it to the right, the more compressed the sound. Leave the Ratio slider at 10 i. The lower the Threshold, the more compressed the sound; below about dB, with a Ratio of , the sound becomes so compressed as to be unusable.
Leave the Threshold slider at dB for now. When you bypass the Single- Band Compressor, note that the meters are more animated and have more pronounced peaks. The reason is that reducing peaks allows for increasing the overall output gain without exceeding the available headroom or causing distortion.
Attack sets a delay before the compression occurs after a signal exceeds the threshold. Allowing a slight Attack time, like the default setting of 10ms, lets through percussive transients up to 10ms in duration before the compression kicks in. Now set the Attack time to 0. There are no rules about Release time; basically, set it subjectively for the smoothest, most natural sound, which will usually lie between and ms.
You can use the same basic steps as in the previous lesson to explore the Tube-Modeled Compressor. The one obvious difference is that the Tube-Modeled Compressor has two meters: the one on the left shows the input signal level, and the one on the right shows how much the gain is being reduced to provide the specified amount of compression. It divides the frequency spectrum into four bands, each with its own compressor. Note that each band has an S Solo button, so you can hear what that band alone is doing.
This shows how multiband compression can add an element of equalization; the output gain for the two upper bands is considerably higher than the two lower bands. This is the mirror image of the Enhance Highs preset. The reason is that the highest band has an extremely low threshold of dB, so even low-level, high-frequency sounds are compressed.
Speech Volume leveler The Speech Volume Leveler incorporates three processors—leveling, compression, and gating—to even out level variations with narration, as well as reduce back- ground noise with some signals. As you move the slider to the right, the output will become louder than the input.
Choose a value of about 60 for now. The output will peak at around -6dB. Adjust the Target Volume Level until the peaks match the peaks you saw in step 6. The slider should be around dB. There should be fewer volume variations between the soft and loud sections.
To best hear how this works, with the Leveling Amount at the default setting of , select the audio between 2 and 6 seconds, and loop it. Move the Leveling Amount back to 60, and the noise goes away.
Observe the meters, and see if further tweaking can help create a more consistent output. In the reducing the attack and illustration the top waveform is the original file, whereas the lower one has been decay time of the effect processed by the Speech Volume Leveler. Delay and echo effects Adobe Audition has three echo effects with different capabilities.
All delay effects store audio in memory and then play it back later. The time that elapses between storing it and playing it back is the delay time. This makes it easy to hear single delay. Leave Adobe Audition where the project has a particular tempo. Samples is useful for tuning out short timing differences, because analog Delay you can specify delays Before digital technology, delay used tape or analog delay chip technology.
These down to 1 sample at a 44,Hz sample produced a more gritty, colored sound compared to digital delay. Analog Delay simply repeats the audio with the start time of the repeat specified by the delay amount. Unlike the Delay effect, there are separate controls for Dry and Wet levels instead of a single Mix control. The Delay slider provides the same function as the Delay effect except that the maximum delay time is 8 seconds. 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. Session files. Create session templates that speed up recurring projects requiring similarsettings and tasks. Save sessions with their source files, including video, markers, andmetadata; or convert files to a different format upon save.
Include full source files or the filestrimmed to marker length. Expanded audio and video formatsAdobe Audition has long been the go-to application for working with the widest variety of fileformats, including QuickTime, AVI, and H. Import and play HD video in a variety of frame rates, including Options for burning individual files to Redbook audio CDs help add toyour production efficiency.
Under the hood,new out-of-process effects scanning improves performance and protects the application fromthird-party plug-in crashes. Adobe Audition CS6 reintroduces several popular and useful effects. Generate Tones lets youselect a waveform, add harmonics, create a sweep, adjust phase, and make DC offset adjustmentsto create tones that are as great for sound design as they are for testing purposes. Doppler Shifterprovides powerful stereo imaging control and lets you create the effect of a sound passing thelistener, or even swirling around them.
Graphic Phase Shifter gives you pinpoint control of thedegree of phase of every part of the frequency spectrum of a sound.
Notch Filter gives you agraphic interface with which to apply notch filters to sounds—great for extreme EQ effects andgenerating wacky resonances. Side-chaining is now enabled for the Dynamics Processing effectand appropriate third-party effects, as well. Generate Tones left gives you a selection of waveforms and harmonics with which to generate tones, as well as a very usefulsweep option. The Graphic Phase Shifter right gives you control over the phase of every part of the frequency spectrum,without modifying the amplitude.
Improved batch processingStreamline your workflow with an improved batch processingpanel that gives you new options and flexibility, such as theability to convert files to new formats or sample rates andapply favorites at any time, not only at export. Create your ownprefix and suffix naming tags or use name templates to quicklygenerate filenames that conform to your needs. Match Volumehas been similarly upgraded, with file naming added to theoptions available in its convenient drag-and-drop operation.
MetronomeWhat clicks with you? The new metronome. TheMetronome Accent Pattern dialog box gives you control overhow the pattern sounds, and can also select different soundsfor the pattern. Activate the metronome with theconvenient toggle button above the trackheaders in the Multitrack editor. Still using Adobe Audition 3? With a highperformance audio engine and features that are optimized for video and broadcast workflows,Adobe Audition CS6 gives you the tools you need to make your audio sound its best.
Best-of-breedaudio restoration tools make it easy to clean up production audio. Dozens of enhancements let youedit with greater speed and precision, integrate with Adobe Premiere Pro, work natively with 5.
With the essential tools you rely on for fast-turn projects on theMac and PC, Adobe Audition CS6 brings new efficiency and flexibility to your audio postproduction workflows. Increased speed, performance,and quality means increased productivity. Faster, more precise editing. Dozens of user-requested improvements. CD burning, clip grouping, parameter automation,multiple clipboards, tone generation, the metronome, and many more favorite features havebeen brought back in Adobe Audition CS6.
Roundtrip editing with Adobe Premiere Pro. Native multichannel support 5. Work with multichannel projects, creating entiresurround soundtracks or polishing up 5. Are you new to Adobe Audition? You may not be familiar with many of the unique capabilities Adobe Audition CS6 offers. Longconsidered an indispensable tool of audio engineers, Adobe Audition is well known for its ability tohandle the broadest range of audio production tasks, and to do it quickly.
Familiar tools formultitrack recording, editing, and mixing are paired with workflow flexibility and performanceoptimized for the broadcast and video industries. Here are a few of the main reasons AdobeAudition is the go-to tool for audio professionals: Superior audio restoration. From removing occasional clicks to fixing disastrous digital distortion, trimming silence to removing hiss embedded in a waveform—even making unusabledialogue usable again—Adobe Audition provides audio restoration tools that are second to none.
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