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

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

To audition this change, click in the timeline above the waveform. Click several seconds before the words you just edited so you can hear them in context, and then click Play. Or, vary the level and audition the results again, as you anywhere within a file to select the entire file. Well actually, you need to go to the File menu first, select open; then choose the file you want to edit. Remember; you can clears throat open up, uh, multiple files at once. Remember that you can open up multiple files at once.

Once the files are loaded, select the file you want to edit from the drop-down menu. If not, reopen the file from the Lessons03 folder. If necessary, select the file Narration05 for editing from the Editor panel drop-down submenu. The file will play up to the region start, and then seamlessly skip to the region end and resume playback. Cut removes the region but places the region in the currently selected clipboard so it can be pasted elsewhere if desired.

Delete also removes the region but does not place it in the clipboard, and leaves whatever is in the clipboard intact. When you invoke this command, you may not see any visual difference when zoomed out, because the adjustments are often very minor. However, Audition is indeed moving the region boundaries as defined by the command; you can verify this by zooming in to the waveform so you can see the results with more accuracy.

So, select a region that starts somewhat before and ends slightly after the actual throat clearing to tighten that gap. If the boundary occurs on a zero-crossing—a place where the waveform transitions from positive to negative, or vice versa—there is no rapid level change; hence, no click. After making a selection, Audition can automatically optimize the region boundar- ies so they fall on zero-crossings. Moves the region boundaries closer together so each falls on the nearest zero-crossing.

Moves the region boundaries farther apart so each falls on the nearest zero-crossing. Moves the left region boundary to the nearest zero-crossing to the left. Moves the left region boundary to the nearest zero-crossing to the right.

Moves the right region boundary to the nearest zero-crossing to the left. So, undo your last cut. A dialog box appears denoting the length of the silence, which will equal the region length you defined. The gap is now shorter. In a word processing program, you typically copy a sentence to the clipboard and then paste it from the clipboard to somewhere else in the text. The word Empty will no longer appear next to the Clipboard 1 name.

Keep the Narration05 file open. Now you have a separate clip for each phrase, which will make it easy to place the phrases in a different order. Remember; you can open up multiple files at once.

Otherwise, subsequent pasting will replace the selected region. When a dialog box appears, enter the desired duration of silence in the format minutes:seconds.

The verse starts at about 7. Place the playhead at the approximate beginning of the verse around 7. Click at the beginning of the downbeat, and then press M to place a marker there. If you click right on the marker, the playhead will snap to it because snapping is enabled. The pasted verse now follows the first verse before going into the bridge. Play the file from the beginning to verify this.

You can use a similar concept to shorten music. Note that the intro repeats twice, from 0 seconds to 3. Remember that the marker needs to go at the precise beginning of the beat. A dialog box appears where you can adjust the levels distortion. If you try to of the copied audio and existing audio. Save this file, and then close it before proceeding.

Repeating part of a waveform to create a loop Many elements in music are repetitive. You can move the region boundaries during playback. If you have a hard time finding good loop points, set a region to start at 7.

Now you have a loop you can use in other pieces of music. E Tip: There are several others ways to save an individual selection. Fading regions to reduce artifacts Audio may have unintended noises, such as hum or hiss, that are masked when audio like narration is playing but are audible when the narration stops.

Audition has advanced techniques for removing noise and doing audio restoration, but for simple problems, a fade is often all you need. You can see the fade attenuating the spike. Use a convex fade for this application. Review answers 1 As soon as you make a selection, a heads-up display opens with a volume control that lets you change level. Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects.

Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors. They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor.

There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors. You can add, delete, replace, or reorder effects. The Effects Rack is the most flexible way of working with effects. When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack.

Some effects are available in the Effects menu that are not available in the Effects Rack. If you come up with a particularly useful effects setting, you can save it as a Favorite preset.

The preset is then added to the list of Favorites you can access with the Favorites menu. Selecting it applies that preset instantly to whatever audio is selected; you cannot change any parameter values before applying the effect.

This lesson initially covers using the Effects Rack, which introduces the majority of effects. The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu.

The final section describes how to work with presets, including Favorites. Using the effects rack For all lessons involving the Effects Rack, it is best to use the Default workspace.

Click the Transport Play button to audition the loop, and then click the Transport Stop button. A toolbar is located above the inserts, and meters with a second toolbar are below the inserts. You series, meaning that the audio file feeds the first effect input, the first effect output can leave empty inserts feeds the second effect input, the second effect output feeds the third effect input, between effects and and so on until the last effect output goes to your audio interface.

Press the spacebar again to stop playback. Begin playback. The echoes are now in time with the music. Keep this lesson open as you continue. Either of these actions brings the effects window to the front and opens it if it was closed.

If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert. When powered back on, only effects that had been on prior to bypassing return to being on. For example, a fil- ter that emphasizes the midrange could create distortion by increasing levels above acceptable limits. To set levels, in the lower part of the Effects panel use the Input and Output level con- trols with associated meters.

These controls can reduce or increase levels as needed. Do not start playback yet. Close the Parametric EQ window. However, the massive EQ boost is overloading the output.

Turn up the monitoring level enough so you can hear the distortion this causes. Reduce the Input level until meter to reset the red distortion indicators. This will likely require To reset the Input or reducing the Input to dB or so. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other.

E Tip: Using the Mix 2 Drag the slider to the right to increase the amount of wet, filtered sound, and slider to blend in more drag to the left to increase the amount of dry, unprocessed sound. This is called a nondestructive process using a real-time effect, because the original file remains unaltered. However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version.

For this lesson, choose Entire File. Also note that any changes are still not amplitude and compression effects permanent until you save using either Save or Save As the file. At Amplitude and Compression effects change levels or alter dynamics. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted. With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel. Deselecting Link Sliders allows for adjusting each channel individually.

They do not go into the red so it is safe to increase the gain by this amount. The Output meter goes into the red, which shows that the gain is too high and is overloading the output. Also, try decreasing the level and listen to the results. Keep Audition open.

Consider two possible applications: converting stereo to mono and reversing the left and right channels. When bypassed, the stereo image is wider. Now the signal is monaural. Click the L tab and set operation that the the L slider to 0 and the R slider to Now the left channel consists entirely of Channel Mixer preset named All Channels signal from the right channel. Set the L slider to and the R slider to 0. Now the right conversion. When bypassed, the hi-hat is in the left channel.

De-essing is a three-step process: Identify the frequencies where sibilants exist, define that range, and then set a threshold, which if exceeded by a sibilant, automatically reduces the gain within the specified range. This makes the sibilant less prominent. Sibilants are high frequencies. Look carefully at the spectrum and confirm that you see peaks in the range around Hz. Similarly, when set to minimum Hz , the sibilants are above this range and are still audible. Adjust the Center Frequency to hear the greatest amount of sibilants and the least amount of the voice, which will be around Hz.

Dynamics processing With a standard amplifier, the relationship between the input and output is linear. A Dynamics Processor changes the relationship of the output to the input. This change is called compression when a large input signal increase produces only a small output signal increase and expansion when a small input signal increase produces a large output signal increase. Expansion is less common; one application is to expand objectionable low-level signals like hiss to reduce their levels further.

There are also many uses for both as special effects. In the following graph, as the input signal changes from dB to dB, the output changes from dB to only dB. As a result, the Dynamics Processor has compressed 60dB of input dynamic range into 5dB of change at the output. But from dB to 0dB, the output changes from dB to 0dB. Therefore, the Dynamics Processor has expanded 40dB of input dynamic range into 95dB of out- put dynamic range.

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. Size : 1. Adobe Illustrator CS5 Essentials. Size : Adobe Captivate 8. Adobe Spark Getting Started. Adobe Dreamweaver Essentials. Size : 2 MB Downloads : Adobe photoshop tutorial.

Description : Download free adobe photoshop tutorial course material and training in PDF file 37 pages Size : Adobe Captivate 9 – Accessibility. 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 Items in the screen Reverb and Multi-Effects. Plug-in for Digidesign Pro Tools. Digidesign and Pro More information. Inside, you ll find quick examples of how to record, compose, mix, and More information. Toolbar Contains a variety of More information.

Novice and more advanced composers can use More information. Just More information. The guide is divided More information. Logic Pro 9. The owner or authorized user of a valid copy More information. User Guide. Jun 13 Revision 1. Cubase LE 5. Installing Cubase LE 5. Also, since Cubase More information. Waves Trans-X.

Software Audio Processor. Using GarageBand, you and your students can compose More information. Audition Monster Truck Project Tutorial. Sonic Studio Strix Series. No part of this manual, including the products and software described in it, More information.

You can download More information. Other user-guides are available at More information. Music technology. Please send any comments to: Netop More information. Using Pinnacle Studio Boasting More information. You will also learn some of Adobe s collaborative functions, More information. Lightworks v Need music for your imovie HD video More information. Controllable Space Phaser. Read on to learn key parts of the new interface, discover free PowerPoint More information. Your computer is an assembly of many components from different manufacturers.

Estimated More information. Audacity Quick Reference Guide. It can be downloaded More information. With PowerPoint, you can create engaging presentations that can be presented in person, online, More information.

Internet Explorer 7. Tabs NEW! Working with the Tab Row. To expand More information. NIS-Elements Viewer. A navigation bar More information. What is Final Cut More information. Copyright Kinoma Inc. Notebook Software How to create pop-up menus 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 More information.

Newton Backup Utility User s Guide. Under the copyright laws, this manual may not be copied, in whole More information. Create an interactive syllabus for your students 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 More information. For full instructions on how to install Simsound please see the Technical Guide at the end of this document.

Sim sound encourages pupils to explore More information. I ntroduction. Accessing Microsoft PowerPoint. To open More information. NEC America, Inc. E-Loader More information.

 
 

Adobe audition cs6 manual pdf download free download

 

You will need a web-enabled device or computer in order to access the media files that accompany this ebook. Depending on your device, it is possible that your display settings will cut off part of the URL. Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Animate choose Adobe Animate Classroom in a Book release from Adobe Press.

The 11 project-based step-by-step lessons in this book show users the key techniques for working in Animate. Adobe Animate provides more expressive tools, powerful controls for animation, and robust support for playback across a wide variety of platforms. Gain advanced control over character animations with layer parenting and AI-driven lip syncing. Learn to create dynamic strokes with the new fluid brush, and work smarter with the revamped Timeline, Tools palette and Properties inspector.

Classroom in a Book is the best-selling series of hands-on software training books designed to help you learn the features of Adobe software quickly and easily. Developed by the training experts at Adobe Systems, these books offer complete, self-paced lessons designed to fit your busy schedule and help you learn the features of Adobe software quickly and easily.

The online companion files include all the necessary assets for students to complete the projects featured in each chapter as well as eBook updates when Adobe releases new features for Creative Cloud customers.

And all buyers of the book get full access to the Web Edition: a Web-based version of the complete eBook enhanced with video and interactive multiple-choice quizzes. The 18 project-based lessons in this book show users step-by-step the key techniques for working in Premiere Pro. Take a project from beginning to end and learn to organize media, add audio, create transitions, produce titles, and add effects. Take your projects further by sweetening and mixing sound, compositing footage, adjusting color, using advanced editing techniques, managing projects, working with video for VR headsets, animating graphics, exporting, and much more.

The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases relevant new features for Creative Cloud customers. All buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and multiple-choice quizzes.

From planning to playback, this book covers it all! With focused attention on the workflow and integration between the components of Production Premium, readers will learn to take their project from concept all the way through the production and post-production pipelines using the all the tools necessary. Readers will also discover how easy it is to use Adobe Media Encoder and Dynamic Link across the suite for easy-to-manage workflow processes as well.

Covers the basics of learning Adobe Dreamweaver and provides countless tips and techniques to help you become more proficient with the program. The best-selling guide to Adobe’s powerful digital video editing application, fully updated for Adobe Premiere Pro Creative Cloud. The 18 project-based lessons in this book show readers step-by-step the key techniques for working in Premiere Pro CC.

Readers learn to take a project from beginning to end where they’ll get the basics on things like organizing media, using audio, creating transitions, producing titles, and adding effects. Once they have the basics down, they’ll learn how to take their projects further by sweetening and mixing sound, compositing the footage, adjusting color, using multicamera editing techniques, outputting, and much more.

This completely revised edition covers new features and refinements, including Link and Locate, for finding files faster, synch of multi-camera media with second-system sound, and built-in support for closed captioning. Multiple editing and timeline improvements have been made such as improved track targeting, customizable track headers, new indicators for through edits and start and end of media, and much more. Best of all, the companion DVD includes lesson files and real-world media assets so readers can work step-by-step along with the book.

Lesson files and assets are included as a download so readers can work step-by-step along with the book. Learn how you can edit a lot faster with smarter workflows that automate several steps in the editing process.

You’ll also see how custom settings, presets, keyboard shortcuts and templates saves hours of work. By tailoring the software to your needs you save clicks on just about every task. With many traditional jobs now being done by one person, its important to understand audio smoothing, color grading, motion graphics, and advanced editing techniques.

All the authors are professional editors and want to know exactly how to cut your film as fast as possible with top quality output. What You’ll Learn Edit faster, no matter what the project Understand the technical stuff, like timeline settings, render codecs, color subsampling, export settings, effect controls and monitor settings Know when to send your clips to other Adobe software, and how to treat them there. Master the Premiere Pro timeline, even stacks of timelines, and edit, trim and adjust with ease Who This Book Is For Video journalists and everyone else will learn how to edit faster and get home in time for dinner.

Film cutters will learn how to organize, rough cut and fine tune huge amounts of material effectively and how to output for digital cinema. Experienced video editors will learn how to deal with multi-track audio and to work faster in every step of the edit. Marketing people who edit video for social media and web pages will learn simpler ways to make a faster cut. Teachers in media studies will understand the logic in Premiere Pro, and be better prepared for teaching video editing.

Annotation Through a series of hands-on lessons, this comprehensive volume takes users step by step through Audition’s enormous feature set, including its capabilities for recording, mixing, analyzing, looping, editing, and mastering audio. Edit and apply effects for stellar visual and special effects This important resource is like having a personal instructor guiding you through each lesson, while you work at your own pace.

It includes 10 self-paced lessons that let you discover essential skills and explore the new features and capabilities of Adobe After Effects. Every lesson is presented in full color with step-by-step instructions.

Video tutorials and lesson files on a companion DVD were developed by the same team of professional instructors and After Effects experts who have created many of the official training titles for Adobe Systems.

Combines a full-color, step-by-step instructional book along with lesson files and video training from expert instructors Written for After Effects CS6, a leading motion graphics and visual effects program that allows users to create and deliver compelling motion graphics and visual effects Demonstrates how to quickly get up to speed using After Effects to create and animate text, images, and video for the web, TV, and digital displays After Effects CS6 Digital Classroom takes you from the basics through intermediate-level topics, teaching you this complex software in a clear, approachable manner.

DVD and other supplementary materials are not included as part of the e-book file, but are available for download after purchase. A guide to Adobe Illustrator CS6 covers such topics as creating and managing documents, drawing, coloring artwork, working with typography and images, and preparing graphics for the Web.

The 10 project-based lessons in this book show readers step-by-step the key techniques for working in Flash CS6. Readers learn what they need to know to create engaging interactive content with Flash CS6. In addition to learning the key elements of the Flash interface, including panels, timelines, and frames, readers learn how to work with graphics, create and edit symbols, modify text, add interactivity with ActionScript, and incorporate animation and sound into their projects.

Page 84 Note: By default, the display window scrolls in sync with playback that extends beyond the visible section of a waveform. In the General tab of the Settings dialog box, you can set options for auto-scrolling or you can disable this feature. Using preroll and postroll during playback Edit View only In Edit View, you can play back the audio just before and after a selected range.

Page 85 Use the volume slider to adjust the volume of the preview. To enable auto-play: Click the Auto-play button on the Files tab. To disable auto-play, click the Auto-play button again. Monitoring recording and playback levels Adobe Audition provides the Level Meters to help you monitor the amplitude of the signal during recording and playback.

If the amplitude is too high, clipping occurs and results in distortion; Yellow peak indicators remain for 1. Page 89 The peak can still be reset manually at any time by clearing the clip indicators that is, by clicking the clip indicator at the right.

Instead, you can adjust these levels with the mixer appli- cation that comes with the sound card or with the mixer built into Windows. For example, you can show or hide grid lines in Waveform View and change the resolution in Spectral View. Adobe Audition provides several methods for making and adjusting selections. Using cues ranges can save you time when making selections. Drag near the bottom of the right lower channel. User Guide Each time you choose this command, Adobe Audition adds the next beat to the selection.

This command is especially handy for working on audio for CD. You can access snapping commands by right-clicking the timeline. Page Copying, Cutting, Pasting, And Deleting Specifying which channel of a stereo waveform to edit By default, Adobe Audition applies selections and edits to both channels of a stereo waveform. However, you can easily select and edit just the left or right channel of a stereo waveform. Page Inserts audio at the current location or selection, replacing any selected data.

If no Insert data is selected, Adobe Audition inserts audio at the cursor location, moving any existing data to the end of the inserted material.

Mixes audio at the selected volume level with the current waveform. If the audio Page Deleting audio data Adobe Audition provides two methods for deleting audio: The Delete Selection command lets you remove a range from a waveform, whereas the Trim command lets you remove unwanted audio from both sides of the selected audio. A point refers to an exact position within a waveform for instance, A range has both a start time and an end time for example, all of the waveform from Choosing a cue type Adobe Audition provides four cue types.

Consider the following when Page End or Length text box. Merging, converting, and deleting cues Adobe Audition lets you merge cues, and it also lets you convert point cues to range cues, and vice versa. Page Options button is enabled. Click this button to select options. Adds silence between cue points in the waveform.

Page In the Signal Is Above text box, enter the amplitude value in decibels you want Adobe Audition to consider as the minimum level for audio. In the For More Than text box, enter the duration in milliseconds of this minimum amplitude. Suggested values appear in the appropriate text boxes.

Removing silence is useful for cleaning up voice prompts and speeding up narratives without affecting the foreground audio. Creating silence Adobe Audition provides two ways to create silence in a waveform: by muting part of the existing waveform or by inserting a new duration of silence. Page To delete silence: If you want to delete silence from part of a waveform, select the desired range of audio data. Page Determines what Adobe Audition considers audio.

In the For More Than text box, enter the duration in milliseconds of this minimum amplitude value. Generating audio Adobe Audition provides several commands that let you generate new audio data. These commands are different from effects in that they insert new sounds into a waveform rather than alter existing sounds.

Page Generating noise is useful for creating soothing sounds like waterfalls perfect for use with the Binaural Auto-Panner function of Adobe Audition and for generating signals that can be used to check out the frequency response of a speaker, microphone, or other audio system component.

Page Intensity noise becomes more erratic and sounds harsher and louder. Determines the number of seconds of noise that Adobe Audition generates. Page Converting The Sample Type whether the waveform is mono or stereo. You can convert the sample type to change any of these attributes. Page Enter a sample rate in the text box, or choose a common sample rate from the list. Click OK. Note: Although you can create and edit any sample rate in Adobe Audition, your sound card may not be capable of playing it properly.

When converting to a lower bit depth, Adobe Audition provides dithering options to help reduce noise and distortion. Although dithering intro- duces a small amount of white noise, the result is far preferable to the increased distortion that you would otherwise hear at low signal levels. Page You may also specify that no noise shaping is used. Enables or disables dithering. If dithering is enabled, Adobe Audition Sets the bit amount of dithering to be applied.

In general, values of 0. Alternatively, click the Convert Sample Type button in the toolbar. Adjust the settings as desired. Click Save As, type a name for the preset, and click OK. To delete a sample rate conversion preset: Choose the preset from the list, and click Delete. These analysis options are particularly helpful when used in conjunction with the many enhancement and restoration effects in Adobe Audition.

Page In Edit View, select or play a range of the waveform. Page Click this button to scan the highlighted selection and show all frequencies present Scan in that selection.

By default, Adobe Audition analyzes only the center point of a selected range. To analyze the overall frequency of a selected range, click Scan. Page To zoom in on a particular area of the Phase Analysis graph, use the horizontal and vertical rulers.

Normalize Select from the following options: Display menu Page RMS formula. Use the Histogram tab to identify prevalent amplitudes, and then compress, limit, or normalize them with an amplitude effect. Select Left or Right to display either the left or right channel in the foreground. To view numerical waveform statistics: In Edit View, select an audio range. Page Removing Noise 5 to Run Size is the second most important parameter.

A setting of about 25 is best for high-quality work. Level of detected clicks and pops B. You can access these settings in the Display tab of the Settings dialog box. Most clicks appear as bright vertical bars that extend from the top to the bottom of the waveform display.

To reduce hiss: In Edit View, select an audio range. Set the desired options. Using the Noise Reduction effect Edit View only The Noise Reduction effect dramatically reduces background and broadband noise with a minimal reduction in signal quality. This effect can remove a wide range of noise, including tape hiss, microphone background noise, cycle hum, or any noise that is constant throughout a waveform.

Use this effect to remove very narrow frequency bands, such as a 60 Hz hum, while leaving all surrounding frequencies untouched. Page measured in degrees or group delay measured in milliseconds , depending on whether the Phase or Delay option is selected. Group Delay milliseconds B. In Effects tab of the Organizer window, expand Amplitude, and double-click Envelope.

You can use this effect to limit or compress dynamic range, producing a consistent level of perceived loudness. In the Effects tab of the Organizer window, expand Amplitude, and double-click Normalize.

You can add subtle or psychedelic audio effects, and you can even correct the pitch of an out-of-tune singer. Page As a result, you can use this effect to bring up the volume of the vocals, lead bass, or kick drum or remove any of them from the stereo mix. Using the Doppler Shifter effect Edit View only The Doppler Shifter effect creates the increase and decrease in pitch we notice when an object approaches and then passes us, such as when a police car passes with its siren on.

You can also use it to create some truly out-of-this-world special effects. Adobe Audition uses a direct-simulation method of achieving a chorus effect, meaning that each voice or layer is made to sound distinct from the original by slightly varying the timing, intonation, and vibrato. The resulting sound has a phase-shifted, time-delay effect, characteristic of psychedelic recordings of the s and s. For example, the Pitch Correction effect can correct an out-of-tune vocalist or instrument, and the Stretch effect can stretch or shrink audio without altering pitch or tempo.

If you add the dynamic delay or Dynamic EQ, which has a similar principle to Multi- track View, you get a new envelope that determines the delay. Page The number of echoes is adjustable up to , Keep in mind that the more echoes you include, the more time Adobe Audition needs to process the effect. You can create a spatial, stereo expansion effect by setting the virtual microphones farther apart than your actual stereo speakers.

However, they give an impression of space. With Adobe Audition, you can customize the reverb and replicate a variety of room environments. For slightly faster processing and more control, you can also use the Studio Reverb effect. Page To get a feel for Convolution, open and play with some of the sample Impulse. While this function is far from a complete MIDI authoring studio, it provides a quick and simple way to put a sample to music.

Note: This selection must be under ten seconds long. Page Split points are determined by the crossover frequencies you specify. Each copy of the waveform is placed in its own track in the session window.

You can then edit or apply effects to each band separately. Page CHAPTER 6 Applying Stereo, Pitch, and Delay Effects For example, using the default setting of three bands with crossover values of and creates three copies of the selected waveform: one with the frequencies of the selected wave from 0 to Hz, one from to Hz, and one from to Hz or whatever the maximum frequency present is, based on the sample rate.

Page Note: If you select a range by dragging across a clip, that clip is selected by default; if you Ctrl- click the clip, you will deselect it. In the Effects tab of the Organizer window, expand Multitrack, and double-click Vocoder. Page Working With Sessions You can base new sessions on the default session, borrowing default settings such as device Page Click OK. Setting the default session After you set a default session, it opens when you start Adobe Audition.

The default can also serve as a template for new sessions, letting you share settings such as device assign- ments and master volume levels across multiple sessions.

Page The Mix Gauge displays the progress of background mixing, a process that Adobe Audition completes whenever you edit a mix for example, by moving a clip or changing track volume. Longer settings allow for faster mix editing, but they might cause drop outs. You can easily move clips to different tracks or timeline positions. You can also edit clips nondestructively, trimming their start and end points, crossfading them with other clips, and more.

Alternatively, right-click any clip in the group, and choose Group Color. Select a color, and click OK. To align clips: Hold down Ctrl, and select the clips. Page Drag to edit clip edges. Alternatively, right-click the clip, and choose Full. Page With the Clip Duplicate command, you can duplicate repetitions of a clip in a track without consuming additional disk space. You can also specify the spacing between each repetition. Crossfades consist of a fade out and a fade in over a transition region.

Page You can quickly time stretch a clip either by dragging or setting time stretch properties. When you set properties for time stretching, you also specify which method of time stretching to use. Page Working With Audio Tracks Working with audio tracks You can record and mix up to tracks in Adobe Audition, and each track can contain as many clips as you need—the only limit is hard disk space.

The track controls appear to the left of the track display, and you can resize these controls to be as wide or narrow as you wish. Though you can quickly access most of these options in the track controls, the Track Properties window offers channel and bit depth menus, and visual sliders for volume and pan.

Page Same For All Tracks. To specify an output device for a track: In the track controls, click the Out button. Select a hardware output from the Devices list or a bus output from the Busses list. Setting track channel and bit depth To set the channel and bit depth for a track, use the Track Properties dialog box. Track Properties dialog box with channel menu revealed and bit-depth menu highlighted To set channel and bit depth for a track Note, however, that saved sessions store only changes made in Adobe Audition; be sure to also save any changes made in the ReWire slave application.

If the Organizer window is closed, right-click the FX button in the track controls, choose Rack Setup, and add the effect in the Effects Rack dialog box. Page To change the ratio of dry to wet sound that the track outputs, move the Dry Out slider and the effects sliders. To combine effects in serial or parallel groups, click either Serial or Parallel. Page Automating Mixes With Clip Envelopes After you apply real-time effects to a track and edit them, you can lock the track to save processing power for other mixing tasks—an important consideration for complex mixes.

Adobe Audition stores locked tracks in the background mix, removing them from the CPU load. Page To move all control points up or down by the same amount, hold down Alt while you drag. However, some synthesizers are programmed so that velocity changes pitch or harmonic content. Page To automate volume and pan changes over time, use clip envelopes. The Track Mixer A. Track controls B.

Control display buttons C. Page Pan shows and hides the Pan controls. Opens the Adobe Audition Playback Devices window, which lets you assign the Out 1 output properties for the selected track. Page Scroll bar Using the Bus Mixer Adobe Audition gives you the ability to organize multiple tracks into buses, which are especially useful for grouping related tracks and collectively adding real-time effects or adjusting volume.

For example, you can output four tracks of background vocals to one bus, and then apply one reverb effect to that bus. Bus controls B. Click the Bus Mixer tab, and then click New in the right-most Bus channel. Page or click the triangle below it to reduce volume.

Alternatively, enter a value in decibels in the text box above the slider. You can also mix down entire sessions, exporting them in a variety of formats. The beats in the waveform are now indicated, helping you select a start and end that lands on the beat. Adobe Audition assumes that this represents a downbeat. Changing this value updates the Song Start value based on the current tempo settings. Page Repeat Every X Beats are entered automatically so that the audio clip loops continuously at the proper tempo.

All loop-enabled clips automatically adjust to match new settings; regular clips are unaffected. Also consider snapping non-loop-enabled audio clips to the beat and each other, so that all clips are aligned. You can snap the current-time indicator, too. Page CHAPTER 8 Using Loops To extend or shorten a loop-enabled clip: Select the clip, and then position the pointer over the bottom left or right handle—the loop editing icon Drag the handle to extend the loop the desired number of bars.

Depending on how far you drag, you can make the loop repeat fully or partially. To view more thumbnails in a video clip: Horizontally magnify the session display. You can customize the preview to optimize it for your monitor size and system speed.

Page Preparing Video Mixdowns For Export Prior to exporting a video mixdown, you can preview it to ensure that it will sound as you expect and, if not, edit the session as desired. Page You can also use this procedure to export an audio mixdown that you combine with video in a video application, such as Adobe Premiere Pro.

Though video mixdowns are limited to stereo audio and AVI format, audio mixdowns support stereo and surround sound in a variety of formats. With this dialog box, you can individually pan each track of a multitrack session to your multichannel setup, preview the current mix, and export the session. Direct X 8. If your system does not meet these requirements you may receive a warning message and your Play Track and Play All buttons will not be accessible.

Once all your tracks are added, achieve a basic stereo mix balance with your desired track volume, stereo pan, and FX settings. Once the Panner Point is in any one of these speaker locations, the audio from the currently selected track is summed to a mono signal and sent discretely to this one speaker channel. Go To Beginning Plays the currently selected track from the cursor location.

Playback always Play Track plays to the end of the track, regardless of the current zoom level. Page From the Multichannel Output Device menu, specify the preview sound card. Controls the volume of the preview playback, without affecting the This set of six meters displays the output of each Displays the currently selected device to which Adobe Audition Page Exporting Surround-Sound Files For sound cards that offer an interleaved multichannel driver, you should select this from the list.

These driver types will accept the 6-audio input from Adobe Audition and automatically route it to the standard Microsoft 5. To export your multichannel session: Click Export at the bottom right of the Multichannel Encoder dialog box. Specify the attenuation parameters to control how the levels of the Center, Surround, and LFE channels get mixed down with the front stereo channels and played back on a stereo output system.

 

Adobe audition cs6 manual pdf download free download

 

All sound examples provided with the lessons are copyright by Craig Anderton. However, purchasers of this book are granted a non-exclusive, royalty-free license 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. R , as 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. Government End Users, Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order , as amended, Section of the Vietnam Era Veterans Readjustment Assistance Act of 38 USC , and Section of the Rehabilitation Act of , as 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 note 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 need. 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 spectrum 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 session.

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 to 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 of 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 of 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 locating and previewing files, control surface support for multiple protocols, pitch correction, side-chaining, improved batch 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 own 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 basic to intermediate features, including tips and techniques for 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 explains 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 Adobe Audition 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 of 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 to 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 also covers recording, and integration with the Multitrack Editor.

The 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 sound creation and editing.

You ll even learn how to do rough testing of 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 good reason to become familiar with Audition s 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 these 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 jack for monitoring , but be aware that these use consumer-grade components and while adequate, will not showcase what Audition can do to the fullest extent.

Professional and prosumer audio interfaces are available at very reasonable costs, and are recommended not just 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 it 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 computers. 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 your 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 folders 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, sound 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 to a wide range of Adobe resources. Adobe Authorized Training Centers offer instructor-led courses and training on Adobe products, employing only Adobe Certified Instructors.

Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects.

Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors.

They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on.

In fact, sometimes audio engineers even use similar terms, like brightness, to describe increased treble. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor.

There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors. The Effects Rack allows you to create a chain of up to 16 effects, which you can enable or disable independently. You can add, delete, replace, or reorder effects.

The Effects Rack is the most flexible way of working with effects. The Effects menu allows you to select an individual effect from the Effects menu bar and apply it to whatever audio is selected.

When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack. Some effects are available in the Effects menu that are not available in the Effects Rack. The Favorites menu is the quickest but least flexible way to work with effects.

If you come up with a particularly useful effects setting, you can save it as a Favorite preset. The preset is then added to the list of Favorites you can access with the Favorites menu. Selecting it applies that preset instantly to whatever audio is selected; you cannot change any parameter values before applying the effect. This lesson initially covers using the Effects Rack, which introduces the majority of effects. The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu.

The final section describes how to work with presets, including Favorites. Click the Transport Play button to audition the loop, and then click the Transport Stop button. A toolbar is located above the inserts, and meters with a second toolbar are below the inserts.

Although you can t see any graphical connection among them, the effect s inserts are in series, meaning that the audio file feeds the first effect input, the first effect output feeds the second effect input, the second effect output feeds the third effect input, and so on until the last effect output goes to your audio interface.

Inserting an effect turns its power button to on green and opens the effect s graphic user interface. You may need to move the effect s graphic user interface to load more effects. P Note: Effects do not have to go into consecutive inserts. You can leave empty inserts between effects and place effects in these inserts later.

Press the spacebar to begin playback, and then turn the Studio Reverb insert s power button on and off to hear how reverb affects the sound. Press the spacebar again to stop playback. Begin playback. You ll hear a more pronounced reverb sound. You ll hear an echo effect, but it s not in time with the music.

The echoes are now in time with the music. Later in this lesson we ll explain how to choose rhythmically correct delay times. Keep this lesson open as you continue. Removing, editing, replacing, and moving an effect Rather than present a structured exercise, try the various bulleted options that follow to see how they work.

To remove all effects in the rack, right-click Control-click anywhere on an effect s insert, and then choose Remove All Effects. To remove some effects in the rack, Ctrl-click Command-click in each effect insert containing an effect you want to remove.

Then right-click Control-click anywhere in any selected effect s insert, and choose Remove Selected Effects. To edit an effect when the effects window is hidden or you closed it, either double-click the effect s insert and click the insert s right arrow to select Edit Effect from the drop-down menu, or right-click Control-click anywhere in an effect s insert and choose Edit Selected Effect.

Either of these actions brings the effects window to the front and opens it if it was closed. To move an effect to a different insert, click the effect s insert and drag to the desired destination insert.

If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert. Bypassing all or some effects You can bypass individual effects, groups of effects, or all effects in the Effects Rack by doing the following: The power button in the lower-left corner of the Effects Rack s panel bypasses all rack effects that are on.

When powered back on, only effects that had been on prior to bypassing return to being on. Bypassed effects remain bypassed regardless of the all effects power button setting. To bypass some effects, Ctrl-click Command-click on each effect s insert you want to bypass, right-click Control-click on any of these inserts, and then choose Toggle Power State of Selected Effects.

Gain-staging effects Sometimes inserting multiple effects in series causes certain frequencies to add up and produce levels that may exceed the available headroom. For example, a filter that emphasizes the midrange could create distortion by increasing levels above acceptable limits. To set levels, in the lower part of the Effects panel use the Input and Output level controls with associated meters. These controls can reduce or increase levels as needed.

Do not start playback yet. Close the Parametric EQ window. The excessive levels will trigger the output meter s red overload indicators to the meter s right. However, the massive EQ boost is overloading the output. Turn up the monitoring level enough so you can hear the distortion this causes. E Tip: You can click anywhere in the Output meter to reset the red distortion indicators.

E Tip: Using the Mix slider to blend in more dry sound provides an easy way to make an effect more subtle. Reduce the Input level until the peaks no longer trigger the red distortion indicators.

This will likely require reducing the Input to dB or so. Keep this project open for the next lesson. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other. Applying effects Inserting an effect doesn t change the file but instead plays the original file back through the effect. This is called a nondestructive process using a real-time effect, because the original file remains unaltered. However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version.

For this lesson, choose Entire File. This not only applies the effect to the file to process it, but deletes the effect from the Effects Rack so the file isn t double processed from the effect being embedded in the file and from a processor remaining in the rack.

Let s move on to lessons that show how individual effects change the sound. Amplitude and Compression effects Amplitude and Compression effects change levels or alter dynamics. You ll load each effect individually to hear how each one changes the sound.

Amplify Amplify can make a file louder or softer. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted. P Note: You can insert additional effects into the Effects Rack to change the sound further, and then apply those effects.

The file will then reflect the changes caused by all the effects you ve applied. Also note that any changes are still not permanent until you save using either Save or Save As the file.

At that point, the effects will be embedded permanently in the file. With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel. Deselecting Link Sliders allows for adjusting each channel individually. They do not go into the red so it is safe to increase the gain by this amount. The Output meter goes into the red, which shows that the gain is too high and is overloading the output. Also, try decreasing the level and listen to the results.

Keep Audition open. Channel Mixer The Channel Mixer alters the amount of left and right channel signal present in the left and right channels.

Consider two possible applications: converting stereo to mono and reversing the left and right channels. It s currently set so that the left channel consists entirely of signal from the left channel. You ll convert this stereo signal into a monaural signal by having equal amounts of left and right channel signals in the left and right channels.

When bypassed, the stereo image is wider. Now the signal is monaural. Bypass and enable the Channel Mixer to verify. Click the L tab and set the L slider to 0 and the R slider to Now the left channel consists entirely of signal from the right channel.

Set the L slider to and the R slider to 0. Now the right channel consists entirely of signal from the left channel. When bypassed, the hi-hat is in the left channel. When enabled, it s in the right channel. DeEsser Audition s DeEsser reduces vocal sibilants ess sounds. De-essing is a three-step process: Identify the frequencies where sibilants exist, define that range, and then set a threshold, which if exceeded by a sibilant, automatically reduces the gain within the specified range.

This makes the sibilant less prominent. Sibilants are high frequencies. Look carefully at the spectrum and confirm that you see peaks in the range around Hz. When set to maximum Hz , you can still hear quite a bit of sibilance because this is higher than the sibilants frequency. Similarly, when set to minimum Hz , the sibilants are above this range and are still audible.

You ll find a sweet spot between and Hz that reduces sibilants. Now you ll hear only the sibilants. Adjust the Center Frequency to hear the greatest amount of sibilants and the least amount of the voice, which will be around Hz. The Gain Reduction meter shows the sibilant range s attenuation.

Dynamics processing With a standard amplifier, the relationship between the input and output is linear. In other words, if there s a gain of 1, the output signal will be the same as the input signal. If there s a gain of 2, the output signal will have twice the level of the input signal, whatever the input signal level may be. A Dynamics Processor changes the relationship of the output to the input. This change is called compression when a large input signal increase produces only a small output signal increase and expansion when a small input signal increase produces a large output signal increase.

Both can be present at the same time by expanding signals within one range of levels and compressing signals in a different 68 Lesson 4 Signal Processing.

The Dynamics Processor s graph shows the input signal on the horizontal axis and the output on the vertical axis. Expansion is less common; one application is to expand objectionable low-level signals like hiss to reduce their levels further.

There are also many uses for both as special effects. In the following graph, as the input signal changes from dB to dB, the output changes from dB to only dB. As a result, the Dynamics Processor has compressed 60dB of input dynamic range into 5dB of change at the output. But from dB to 0dB, the output changes from dB to 0dB. Therefore, the Dynamics Processor has expanded 40dB of input dynamic range into 95dB of output dynamic range. In the graph these ranges are given a segment number, and the area below the graph provides information about each segment: The segment number The relationship between output and input expressed as a ratio Whether the segment is an Expander or Compressor The Threshold range of levels where the expansion or compression takes effect The easiest way to become familiar with dynamics processing is to call up presets, listen to how they affect the sound, and correlate what you hear to what you see on the graph.

Note that you will need to turn down the Effects Rack s Output level with some of the more aggressive presets to avoid distortion. Choose the Default preset, which provides neither compression nor expansion. Balanced lines use three conductors, which can be designed to minimize hum and noise pickup when carrying low-level signals.

This is common with musical instruments and much pro audio gear. The jack can handle balanced or unbalanced lines; balanced line inputs can handle unbalanced lines as well. A mainstay of consumer gear, RCA jacks are also found in some DJ audio interfaces and video equipment.

This is common for on-board computer audio, but rare for external interfaces except when included to interface with MP3 players and similar consumer devices. This consumer digital interface typically uses RCA phono jacks but can also use an optical connector and very rarely XLR.

This is a professional-level digital interface that uses XLR connectors. This optical connector carries eight channels of digital audio. This allows for easily adding eight mic inputs to an existing interface. Apple standardized on Core Audio drivers for Macintosh- series computers starting with OS X; Macs running earlier operating systems are not compatible with Audition.

The Default Input drop-down menu lists all available audio inputs. Choose Built-In Line Input. For most Audio Hardware offers Macs, the choices are , , , and kHz; choose , which additional level controls, is the standard for CDs. In theory, higher sample rates improve fidelity, but the the option to mute inputs, and the ability difference is subtle at best.

Windows computers and external audio interfaces to click on any input or generally offer a wider choice of sample rates. Click OK to you can remap if for close this dialog box. As a result, the computer stores some of the incoming audio in a buffer, which is like a savings account for your audio input signal.

But a large buffer also means that the input signal is being diverted for a longer period of time before being processed by the computer. As a result, if you listen to the audio coming out of the computer, it will be delayed compared to the input.

Reducing the Sample Buffer value minimizes delay at the expense of system stability you may hear clicking or popping at low latencies. CDs use bit resolution, which means that audio voltages are defined with an accuracy of approximately 1 part in 65, A resolution of or bit provides a higher level of accuracy, but as with higher sample rates, higher bit resolution requires more storage: A bit file is 50 percent larger than a bit file if both are at the same sample rate.

Unlike higher sample rates, few dispute that bit recording sounds better than bit recording. Recording at It has relatively high latency but is stable and predictable. Windows Using Audition on the Mac versus using it on Windows was once a hot topic, but over time, the operating systems and associated hardware have become more alike.

Once you open Audition, for all practical purposes, it operates identically on both platforms. Each platform has strengths and limitations. The Mac handles audio transparently, avoiding the multiple drivers found with Windows. However, independent bench- marks show that all other factors being equal, Windows 7 can apply more power to audio projects than OS X. Ultimately, if there are Mac-only or Windows-only programs that are essential for what you do, that will tend to dictate which platform is best.

The reality is that both platforms have pretty much reached parity, and either will run Audition equally well. Click OK. Note that Windows XP is no longer recommended for most modern music programs, because several improvements have been made in Windows 7 with respect to handling audio, memory management, and hard disks. Choose the desired input and output devices from the Sound Playback Default device and Sound Recording Default device drop-down menus, respectively.

Audition settings for Windows audio Now that the computer has been configured properly for the audio inputs and outputs, you need to configure settings in Audition as well.

Do not change the Master Clock preference. Low values result in less delay through the system, whereas high values increase stability. Most Windows internal audio chips offer a wide variety of sample rates, often from Hz to Hz. Choose in theory, higher sample rates improve fidelity, although few people can hear a difference.

External audio interfaces typically offer fewer options that are intended for professional audio and video projects. After selecting the Sample Rate, click OK. Click OK to close this dialog box. This list covers the defaults for channel most common sample rates used for pro audio: mapping seldom need to be changed. Typically used for digital broadcast and satellite transmissions.

The sample rate for CDs and most consumer digital audio. The most common sample rate used in broadcast video. Some engineers claim this sounds better than Sometimes used in DVDs and other high-end audio recording channel to the Built-in processes. These ultra-high sample rates connects to the physical generate much larger files and stress your computer more, yet offer no right output.

A dialog box opens. The sample rate should default to the value you selected in Preferences. Their inputs will default to what you specified in Preferences.

If you choose Mono, only the first channel of the input channel pair will be recorded. This resolution will be used to calculate changes in volume, effects, and the like, so choose the highest resolution, which is 32 float. Record several seconds of audio. Click Play, and you should hear what you recorded in your chosen output device internal speakers, earbuds, headphones, or monitoring system.

Click the Transport Stop button to end playback. For Template, choose None. This means the input can be mixed directly to the output, and the mixing is typically controlled by using an applet that shows up onscreen to bypass any latency caused by going through the computer.

Giving the other application the focus will allow it use the ASIO interface, unless Audition is recording. USB 2. USB 1.

Class-compliant interfaces are plug-and-play, but most professional interfaces use specialized drivers to improve speed and efficiency. Like USB, this also connects the interface to your computer with a cable, although the connector configuration is different than USB. This interface protocol, which carries data over a cable, is just starting to appear in computers; few Thunderbolt-compatible interfaces are available as of this writing.

However, Thunderbolt promises PCIe-type performance and compatibility with existing audio interfaces, as well as dedicated Thunderbolt interfaces. How can you use ASIO with laptop sound chips? Using the smallest number possible, consistent with the audio not producing clicks or pops, provides minimum latency. Audio in the Multitrack Editor can be transferred to the Waveform Editor for detailed editing and then transferred back.

Files brought into the Waveform Editor can be tweaked prior to making them the basis of a multi- track project. This lesson concentrates on the Waveform Editor, but operations in the Multitrack Editor are similar, and in many cases, identical. Inherently, both types of programs are quite different: Multitrack recorders can have dozens of tracks, or even over a hundred, and therefore require effects that minimize CPU power consump- tion because so many tracks will incorporate effects , and both mixing and automa- tion are extremely important.

There are often occasions when working with a multitrack recording where you need to do detailed editing on a track. This would normally require exporting the file, opening it in a second program, editing it, and then reimporting it back into the multitrack recording software.

With Audition, you just click on the Waveform Editor, and all the tracks in the Multitrack Editor are already loaded and available. When you export a mixdown of a Multitrack Session, it also loads automatically into the Waveform Editor so you can master it, save it as an MP3 file or other Internet-friendly format , or even burn it to an audio CD.

This fluid movement between the two environments improves workflow. You choose which windows make up a workspace, and you can add or remove them at any time. You can also save a particular window setup as a workspace. Once windows are brought into a workspace, they are arranged as frames and panels.

Frames and panels Frames and panels are the main elements in a workspace, and you can rearrange them to suit your particular needs. Click Yes. When you click in a panel, a yellow line outlines the panel. If a divider icon appears when you hover over one of these lines, you can click and drag to resize the panel.

You can also resize the entire workspace by clicking on any edge and dragging. However, this may cause the panels below the waveform to disappear or become narrow enough to be unusable.

Every panel has a tab toward the top of it. The right part of the tab has a Close box, which closes the panel you can always reopen a panel from the Window menu if you need it later. Note how the Zoom panel expands to take up the space. Every panel is housed in a frame. Now the Zoom, Transport, and Time be visible. Note that change its position among the other tabs. Click its lower yellow three green drop zones on the left, line and drag down until the Transport panel is just high enough to show all the right, bottom, and top buttons.

These are different from the blue 14 To create even more space, move the Levels panel to the left of the Audition drop zones because Workspace. However, you can also add a new panel to a frame. This would be a convenient frame for placing the Media Browser panel, so add it to the frame. The Media Browser is added to the frame. However, note that the frame is narrower and you can no longer see all three tabs. When this happens, Audition adds a scroll bar just above the frame.

P Note: If your mouse 4 Click the scroll bar and drag left and right to reveal the various tabs. There are five main drop zones. If the panel drop zone is in the panel center, dropping a panel there is equivalent to dropping it into the bar with the tabs.

However, if the panel drop zone shows a bar with beveled edges, the frame will land where the bar is and push the panel with the bar over to make room. That would be a good place to drag the Time panel. Neither option is inherently superior, but you might prefer one workflow over the other. The frame becomes a separate window that can be moved independently of the Audition Workspace and resized.

Now there are three separate windows—the Audition as you would any other Workspace, the frame with the Files and Effects Rack panels, and the Media frame or panel.

Browser panel. Undock it Bar at the bottom of the workspace is by clicking the gripper in the upper-left corner and dragging it outside the the one element that Audition Workspace.

The Status path and a search box. Bar shows statistics about file size, bit resolution, sample rate, duration, available disk space, and the like. Create and save custom workspaces You are not limited to the workspaces that are included with Audition and can create you own.

Your workspace now joins the list of current workspaces. The only significant departure is the Open Append menu option, which relates mostly to the Waveform Editor.

If you use Windows, it works simi- larly to the standard Windows Explorer. Once you locate a file, you can drag it into the Waveform Editor or Multitrack Editor window. Click Yes when the confirmation dialog box appears. Drag the window to the right to extend it. Click its disclosure triangle any drive.

Note how additional subcolumns show file attributes, such as duration, sample rate, channels, and more. Click the divider line between two subcolumns, and drag left or right to change width. Click a column name, like Media Type. Drag it left or right to position it. Your shortcut now provides one-click access to the designated folder. Audition has several tools that you can use to do this.

Then click around a third of the way into the waveform and drag to about two-thirds of the way through the waveform to create a selection.

The orange icon at the beginning of the selection is called the current time indicator CTI , or playhead in previous versions of Audition. The Waveform Editor includes zoom but- tons, but you can also open a Zoom panel with these same eight buttons if you want to position them elsewhere or float them. The Multitrack Editor includes these same zoom buttons.

Click two times on the leftmost Zoom In Amplitude button. Zooming in on amplitude lets you see low-level signals more easily. P Note: If you zoom in This returns you to the previous amplitude zoom level. This lets you zoom back out. This places the selection start In point in the middle of the waveform. This places the selection end Out point in the middle of the waveform.

This causes the selection to fill the window. Note that you can click the grabber in the middle of the two yellow bars to move the zoom area left or right.

Close Audition without saving anything. Audition even lets you create your own keyboard shortcuts for the various com- mands.

For example, in a Multitrack project, you might place markers before a verse and chorus so you can jump back and forth between them. In the Waveform Editor, you might place markers to indicate places where edits are required.

The Marker panel appears. Rename Marker. Or you can click on the marker 4 Click in the waveform toward the beginning, around 1.

As an alternate way to add a and then type in a new name. Renaming with marker, click the Add Cue Marker button in the Markers panel.

Click around 5. Press M to mark the selection. Note that the Markers panel shows a different symbol to indicate this Range marker is marking a selection. Right-click Control-click on either the start or end of the Range marker, and then choose Convert to Point. Double-click the first marker in the Markers panel list, and the playhead jumps to that marker. Double-click the last marker in the Marker panels list, and the playhead jumps to the last marker. Leave Audition open in preparation for the next lesson.

The playhead moves to Marker 2. The playhead moves to Marker 1. Click the Move Playhead to Previous button once more, and the playhead moves to the beginning of the file. The playhead steps to each marker until it reaches the end of the file.

Rewind back to to the Rewind button the beginning. Note that you can right-click Control-click on either button to set the speed with which it moves. Playback begins. The playhead jumps to the second marker. Click the Move all be invoked during playback. Playhead To Next button again, and the playhead jumps to the third marker.

With this option selected, clicking Stop will return the playhead to where it started. With this option deselected, the playhead will stop at the position it had when you clicked the Stop button.

You can zoom in to make extremely precise edits, while seeing a zoomed-out version in the overview window at the top. Individual files are selected via the Editor panel drop-down menu. Select Narration02, and then Shift-click on Narration Four files are selected. To select noncontiguous files, press Ctrl-click [Command-click] on each file you want to load.

Audition loads the selected files. Click on any of these files to select it and open it in the Waveform view. Or, click Close to close the current file in the stack that is, the one visible in the Editor panel. This process is called selection. Select Finish Soft. Sometimes when recording narration, a drop in volume can occur at the end of phrases. You can fix this in Audition CS6. Note that upon selecting a region, a heads-up display with a small volume control appears automatically.

To audition this change, click in the timeline above the waveform. Click several seconds before the words you just edited so you can hear them in context, and then click Play. Or, vary the level and audition the results again, as you anywhere within a file to select the entire file. Well actually, you need to go to the File menu first, select open; then choose the file you want to edit.

Remember; you can clears throat open up, uh, multiple files at once. Remember that you can open up multiple files at once.

Once the files are loaded, select the file you want to edit from the drop-down menu. If not, reopen the file from the Lessons03 folder. If necessary, select the file Narration05 for editing from the Editor panel drop-down submenu.

The file will play up to the region start, and then seamlessly skip to the region end and resume playback. Cut removes the region but places the region in the currently selected clipboard so it can be pasted elsewhere if desired.

Delete also removes the region but does not place it in the clipboard, and leaves whatever is in the clipboard intact. When you invoke this command, you may not see any visual difference when zoomed out, because the adjustments are often very minor. However, Audition is indeed moving the region boundaries as defined by the command; you can verify this by zooming in to the waveform so you can see the results with more accuracy. So, select a region that starts somewhat before and ends slightly after the actual throat clearing to tighten that gap.

If the boundary occurs on a zero-crossing—a place where the waveform transitions from positive to negative, or vice versa—there is no rapid level change; hence, no click. After making a selection, Audition can automatically optimize the region boundar- ies so they fall on zero-crossings. Moves the region boundaries closer together so each falls on the nearest zero-crossing. Moves the region boundaries farther apart so each falls on the nearest zero-crossing.

Moves the left region boundary to the nearest zero-crossing to the left. Moves the left region boundary to the nearest zero-crossing to the right. Moves the right region boundary to the nearest zero-crossing to the left. So, undo your last cut. A dialog box appears denoting the length of the silence, which will equal the region length you defined. The gap is now shorter. In a word processing program, you typically copy a sentence to the clipboard and then paste it from the clipboard to somewhere else in the text.

The word Empty will no longer appear next to the Clipboard 1 name. Keep the Narration05 file open. Now you have a separate clip for each phrase, which will make it easy to place the phrases in a different order. Remember; you can open up multiple files at once.

Otherwise, subsequent pasting will replace the selected region. When a dialog box appears, enter the desired duration of silence in the format minutes:seconds. The verse starts at about 7.

Place the playhead at the approximate beginning of the verse around 7. Click at the beginning of the downbeat, and then press M to place a marker there. If you click right on the marker, the playhead will snap to it because snapping is enabled.

The pasted verse now follows the first verse before going into the bridge. Play the file from the beginning to verify this. You can use a similar concept to shorten music. Note that the intro repeats twice, from 0 seconds to 3. Remember that the marker needs to go at the precise beginning of the beat.

A dialog box appears where you can adjust the levels distortion. If you try to of the copied audio and existing audio. Save this file, and then close it before proceeding. Repeating part of a waveform to create a loop Many elements in music are repetitive. You can move the region boundaries during playback.

If you have a hard time finding good loop points, set a region to start at 7. Now you have a loop you can use in other pieces of music. E Tip: There are several others ways to save an individual selection.

Fading regions to reduce artifacts Audio may have unintended noises, such as hum or hiss, that are masked when audio like narration is playing but are audible when the narration stops. Audition has advanced techniques for removing noise and doing audio restoration, but for simple problems, a fade is often all you need.

You can see the fade attenuating the spike. Use a convex fade for this application. Review answers 1 As soon as you make a selection, a heads-up display opens with a volume control that lets you change level. Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects. Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors.

They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor. There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors. You can add, delete, replace, or reorder effects. The Effects Rack is the most flexible way of working with effects.

When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack. Some effects are available in the Effects menu that are not available in the Effects Rack.

If you come up with a particularly useful effects setting, you can save it as a Favorite preset. The preset is then added to the list of Favorites you can access with the Favorites menu. Selecting it applies that preset instantly to whatever audio is selected; you cannot change any parameter values before applying the effect. This lesson initially covers using the Effects Rack, which introduces the majority of effects.

The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu. The final section describes how to work with presets, including Favorites.

Using the effects rack For all lessons involving the Effects Rack, it is best to use the Default workspace. Click the Transport Play button to audition the loop, and then click the Transport Stop button. A toolbar is located above the inserts, and meters with a second toolbar are below the inserts.

You series, meaning that the audio file feeds the first effect input, the first effect output can leave empty inserts feeds the second effect input, the second effect output feeds the third effect input, between effects and and so on until the last effect output goes to your audio interface. Press the spacebar again to stop playback.

Begin playback. The echoes are now in time with the music. Keep this lesson open as you continue. Either of these actions brings the effects window to the front and opens it if it was closed. If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert. When powered back on, only effects that had been on prior to bypassing return to being on.

For example, a fil- ter that emphasizes the midrange could create distortion by increasing levels above acceptable limits. To set levels, in the lower part of the Effects panel use the Input and Output level con- trols with associated meters. These controls can reduce or increase levels as needed. Do not start playback yet.

Close the Parametric EQ window. However, the massive EQ boost is overloading the output. Turn up the monitoring level enough so you can hear the distortion this causes. Reduce the Input level until meter to reset the red distortion indicators. This will likely require To reset the Input or reducing the Input to dB or so. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other.

E Tip: Using the Mix 2 Drag the slider to the right to increase the amount of wet, filtered sound, and slider to blend in more drag to the left to increase the amount of dry, unprocessed sound. This is called a nondestructive process using a real-time effect, because the original file remains unaltered. However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version.

For this lesson, choose Entire File. Also note that any changes are still not amplitude and compression effects permanent until you save using either Save or Save As the file. At Amplitude and Compression effects change levels or alter dynamics. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted.

With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel. Deselecting Link Sliders allows for adjusting each channel individually. They do not go into the red so it is safe to increase the gain by this amount.

The Output meter goes into the red, which shows that the gain is too high and is overloading the output. Also, try decreasing the level and listen to the results. Keep Audition open. Consider two possible applications: converting stereo to mono and reversing the left and right channels.

When bypassed, the stereo image is wider. Now the signal is monaural. Click the L tab and set operation that the the L slider to 0 and the R slider to Now the left channel consists entirely of Channel Mixer preset named All Channels signal from the right channel.

Set the L slider to and the R slider to 0. Now the right conversion. When bypassed, the hi-hat is in the left channel. De-essing is a three-step process: Identify the frequencies where sibilants exist, define that range, and then set a threshold, which if exceeded by a sibilant, automatically reduces the gain within the specified range.

This makes the sibilant less prominent. Sibilants are high frequencies. Look carefully at the spectrum and confirm that you see peaks in the range around Hz. Similarly, when set to minimum Hz , the sibilants are above this range and are still audible. Adjust the Center Frequency to hear the greatest amount of sibilants and the least amount of the voice, which will be around Hz. Dynamics processing With a standard amplifier, the relationship between the input and output is linear.

A Dynamics Processor changes the relationship of the output to the input. This change is called compression when a large input signal increase produces only a small output signal increase and expansion when a small input signal increase produces a large output signal increase. Expansion is less common; one application is to expand objectionable low-level signals like hiss to reduce their levels further.

There are also many uses for both as special effects. In the following graph, as the input signal changes from dB to dB, the output changes from dB to only dB. As a result, the Dynamics Processor has compressed 60dB of input dynamic range into 5dB of change at the output.

But from dB to 0dB, the output changes from dB to 0dB. Therefore, the Dynamics Processor has expanded 40dB of input dynamic range into 95dB of out- put dynamic range. 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.

 
 

Adobe audition cs6 manual pdf download free download

 
 

Only once logged in you get a variety of other books too. Adobe Audition CC Classroom in a Book contains 17 lessons that cover the basics and beyond, providing countless tips and techniques to help you become more productive with the program. You can follow the book from start to finish or choose only those lessons that interest you. Purchasing this book includes valuable online extras. Software not included. Note: Classroom in a Book does not replace the documentation, support, updates, or any other benefits of being a registered owner of Adobe Audition CC software.

Purchasing this book gives you access to the downloadable lesson files you need to work through the projects in the book, and to electronic book updates covering new features that Adobe releases for Creative Cloud customers. For access, go to www. Everything you need to master the software is included: clear explanations of each lesson, step-bystep instructions, and the project files forthe students.

Visual effects and motion graphics pros of all stripes – from broadcast professionals to VFX supervisors to Web designers who need to produce occasional video segments – will welcome the dramatically accelerated features provided in the brand-new After Effects CS4.

This best-selling book has been revised to cover all that’s new in this upgrade: the ability to import 3D layers from Photoshop; the Cartoon effect that converts live-action footage into stylized imagery; Adobe Device Central CS4, which lets you preview and test animations for mobile devices, and more. Contains all the lesson files and footage readers need to complete the lessons. All of Peachpit’s eBooks contain the same content as the print edition. You will find a link in the last few pages of your eBook that directs you to the media files.

Entering the URL supplied into a computer with web access will allow you to get to the files. To make sure this is not the case, try reducing your font size and turning your device to a landscape view. This should cause the full URL to appear. The 16 project-based lessons in this book show readers step-by-step the key techniques for working in Audition CS6. Part 1 covers the basics of audio interfacing and the Audition environment.

Next, readers will explore working in Waveform View, performing such tasks as basic editing, signal processing, audio restoration, mastering, and creating and recording files. Finally, in Part 3 on Multitrack View, they will learn about basic multitrack orientation and track parameters, creating music with sound libraries and by overdubbing, mixing strategies, and working with video. The companion disc includes lesson files so readers can work along with the book. Everything you need to master the software is included: clear explanations of each lesson, step-by-step instructions, and the project files for the students.

Classroom in a Book offers what no other book or training program does—an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.

They work closely with the Adobe product development teams and Adobe’s Instructional Communications team to come up with creative, challenging, and visually appealing projects to help both new and more experienced users get up to speed quickly on Adobe software products.

Helpful tips: If you are able to search the book, search for “Where are the lesson files? You will need a web-enabled device or computer in order to access the media files that accompany this ebook. Depending on your device, it is possible that your display settings will cut off part of the URL. Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Animate choose Adobe Animate Classroom in a Book release from Adobe Press.

The 11 project-based step-by-step lessons in this book show users the key techniques for working in Animate. Adobe Animate provides more expressive tools, powerful controls for animation, and robust support for playback across a wide variety of platforms.

Gain advanced control over character animations with layer parenting and AI-driven lip syncing. Learn to create dynamic strokes with the new fluid brush, and work smarter with the revamped Timeline, Tools palette and Properties inspector. Classroom in a Book is the best-selling series of hands-on software training books designed to help you learn the features of Adobe software quickly and easily.

Developed by the training experts at Adobe Systems, these books offer complete, self-paced lessons designed to fit your busy schedule and help you learn the features of Adobe software quickly and easily. The online companion files include all the necessary assets for students to complete the projects featured in each chapter as well as eBook updates when Adobe releases new features for Creative Cloud customers.

And all buyers of the book get full access to the Web Edition: a Web-based version of the complete eBook enhanced with video and interactive multiple-choice quizzes.

The 18 project-based lessons in this book show users step-by-step the key techniques for working in Premiere Pro. Take a project from beginning to end and learn to organize media, add audio, create transitions, produce titles, and add effects.

Take your projects further by sweetening and mixing sound, compositing footage, adjusting color, using advanced editing techniques, managing projects, working with video for VR headsets, animating graphics, exporting, and much more. The online companion files include all the necessary assets for readers to complete the projects featured in each chapter as well as ebook updates when Adobe releases relevant new features for Creative Cloud customers.

All buyers of the book get full access to the Web Edition: a Web-based version of the complete ebook enhanced with video and multiple-choice quizzes. From planning to playback, this book covers it all!

With focused attention on the workflow and integration between the components of Production Premium, readers will learn to take their project from concept all the way through the production and post-production pipelines using the all the tools necessary. Readers will also discover how easy it is to use Adobe Media Encoder and Dynamic Link across the suite for easy-to-manage workflow processes as well.

Covers the basics of learning Adobe Dreamweaver and provides countless tips and techniques to help you become more proficient with the program. The best-selling guide to Adobe’s powerful digital video editing application, fully updated for Adobe Premiere Pro Creative Cloud. The 18 project-based lessons in this book show readers step-by-step the key techniques for working in Premiere Pro CC.

Readers learn to take a project from beginning to end where they’ll get the basics on things like organizing media, using audio, creating transitions, producing titles, and adding effects. Once they have the basics down, they’ll learn how to take their projects further by sweetening and mixing sound, compositing the footage, adjusting color, using multicamera editing techniques, outputting, and much more.

This completely revised edition covers new features and refinements, including Link and Locate, for finding files faster, synch of multi-camera media with second-system sound, and built-in support for closed captioning.

Multiple editing and timeline improvements have been made such as improved track targeting, customizable track headers, new indicators for through edits and start and end of media, and much more. Best of all, the companion DVD includes lesson files and real-world media assets so readers can work step-by-step along with the book.

Lesson files and assets are included as a download so readers can work step-by-step along with the book. Learn how you can edit a lot faster with smarter workflows that automate several steps in the editing process. You’ll also see how custom settings, presets, keyboard shortcuts and templates saves hours of work. By tailoring the software to your needs you save clicks on just about every task.

With many traditional jobs now being done by one person, its important to understand audio smoothing, color grading, motion graphics, and advanced editing techniques. All the authors are professional editors and want to know exactly how to cut your film as fast as possible with top quality output. What You’ll Learn Edit faster, no matter what the project Understand the technical stuff, like timeline settings, render codecs, color subsampling, export settings, effect controls and monitor settings Know when to send your clips to other Adobe software, and how to treat them there.

Master the Premiere Pro timeline, even stacks of timelines, and edit, trim and adjust with ease Who This Book Is For Video journalists and everyone else will learn how to edit faster and get home in time for dinner. Film cutters will learn how to organize, rough cut and fine tune huge amounts of material effectively and how to output for digital cinema. Experienced video editors will learn how to deal with multi-track audio and to work faster in every step of the edit.

Marketing people who edit video for social media and web pages will learn simpler ways to make a faster cut. Teachers in media studies will understand the logic in Premiere Pro, and be better prepared for teaching video editing. Annotation Through a series of hands-on lessons, this comprehensive volume takes users step by step through Audition’s enormous feature set, including its capabilities for recording, mixing, analyzing, looping, editing, and mastering audio.

Edit and apply effects for stellar visual and special effects This important resource is like having a personal instructor guiding you through each lesson, while you work at your own pace. It includes 10 self-paced lessons that let you discover essential skills and explore the new features and capabilities of Adobe After Effects.

Every lesson is presented in full color with step-by-step instructions. Video tutorials and lesson files on a companion DVD were developed by the same team of professional instructors and After Effects experts who have created many of the official training titles for Adobe Systems. Combines a full-color, step-by-step instructional book along with lesson files and video training from expert instructors Written for After Effects CS6, a leading motion graphics and visual effects program that allows users to create and deliver compelling motion graphics and visual effects Demonstrates how to quickly get up to speed using After Effects to create and animate text, images, and video for the web, TV, and digital displays After Effects CS6 Digital Classroom takes you from the basics through intermediate-level topics, teaching you this complex software in a clear, approachable manner.

DVD and other supplementary materials are not included as part of the e-book file, but are available for download after purchase. A guide to Adobe Illustrator CS6 covers such topics as creating and managing documents, drawing, coloring artwork, working with typography and images, and preparing graphics for the Web.

The 10 project-based lessons in this book show readers step-by-step the key techniques for working in Flash CS6. Readers learn what they need to know to create engaging interactive content with Flash CS6. In addition to learning the key elements of the Flash interface, including panels, timelines, and frames, readers learn how to work with graphics, create and edit symbols, modify text, add interactivity with ActionScript, and incorporate animation and sound into their projects.

They also learn how to prepare and export their finished projects for publishing. The book also covers the new, powerful, and intuitive tools and integrated support for reaching audiences across devices that run on Android and iOS platforms by targeting the Adobe AIR 3.

The 10 project-based lessons in this book show readers step-by-step the key techniques for working in Muse. Readers will learn Muse from the ground up and create websites using the latest web standards without writing code. They will learn how to plan projects using site maps and master pages; design pages and add interactivity though buttons, links, and widgets; access Typekit web fonts included with subscription to Muse; and publish a website via Business Catalyst or standard web hosting.

The 15 project-based lessons show key step-by-step techniques for working in Photoshop, including how to correct, enhance, and distort digital images, create image composites, and prepare images for print and the web. In addition to learning the essential elements of the Photoshop interface, this revised edition for the release covers features like search capabilities, Content-Aware Crop, Select and Mask, Face-Aware Liquify, designing with multiple artboards, creating and organizing enhanced brush presets, and much more!

In addition to learning the key elements of the After Effects interface, this completely revised CC release edition covers new features, including mask tracker, detail-preserving Upscale effect, property linking, new snapping options and improvements, improved Cinema 4D integration, settings migration, bicubic sampling option in Transform effect, and more.

For access, goto www. Adobe Dimension empowers graphic designers to create high-quality photorealistic imagery using 2D and 3D assets — and if you have an Adobe Creative Cloud subscription, it’s already included. Adobe Dimension Classroom in a Book release offers complete hands-on training in 14 lessons that help you master it quickly and easily. Straight from Adobe Press, this is the latest in our best-selling series of official Adobe software training guides — packed with self-paced lessons and downloadable files designed by Adobe training experts.

Each chapter contains a project that builds on your growing knowledge of the program, and end-of-chapter review questions reinforce each lesson. Long-time Adobe design consultant and educator Keith Gilbert covers all you need to know about building scenes, applying and editing surface materials, customizing lighting, rendering, and much more — even if you’ve never worked with 3D tools before!

Author :. Adobe Animate Classroom in a Book release. Adobe Dreamweaver CS6. Author : James J. The Cool Stuff in Premiere Pro. Adobe Audition CS6. Adobe Illustrator CS3. Adobe Illustrator CS6. Adobe Muse Classroom in a Book.