Adobe 22011292 - Audition - PC Using Instruction page 77

USING ADOBE AUDITION
Effects reference
The Amplitude And Compression > Normalize effect lets you set a peak level for a file or selection. When you
normalize audio to 100%, you achieve the maximum amplitude that digital audio allows—0 dBFS. If you're sending
audio to a mastering engineer, however, normalize audio to between –3 and –6 dBFS, providing a cushion for further
processing.
The Normalize effect amplifies the entire file or selection equally. For example, if the original audio reaches a loud peak
of 80% and a quiet low of 20%, normalizing to 100% amplifies the loud peak to 100% and the quiet low to 40%.
To apply RMS normalization, choose Effects > Match Volume. If desired, you can apply that command to only one
file. (See "Match volume across multiple
Sets the percentage of the highest peak relative to the maximum possible amplitude.
Normalize To
Select dB to enter the Normalize value in decibels instead of a percentage.
Normalize All Channels Equally
amount. If this option is deselected, the amount is calculated separately for each channel, potentially amplifying one
considerably more than others.
Lets you adjust the position of the waveform in the wave display. Some recording hardware may
DC Bias Adjust
introduce a DC bias, causing the recorded waveform to appear to be above or below the normal center line in the wave
display. To center the waveform, set the percentage to zero. To skew the entire selected waveform above or below the
center line, specify a positive or negative percentage.
More Help topics
"About process effects" on page 63
"Apply individual effects in the Waveform
Single-band Compressor effect
The Amplitude And Compression > Single-band Compressor effect reduces dynamic range, producing consistent
volume levels and increasing perceived loudness. Single-band compression is particularly effective for voice-overs,
because it helps the speaker stand out over musical soundtracks and background audio.
For examples of highly-compressed audio, listen to recordings of modern pop music. By contrast, most jazz recordings
are lightly compressed, while typical classical recordings feature no compression at all.
Sets the input level at which compression begins. The best setting depends on audio content and style. To
Threshold
compress only extreme peaks and retain more dynamic range, try thresholds around 5 dB below the peak input level.
To highly compress audio and greatly reduce dynamic range, try settings around 15 dB below the peak input level.
Sets a compression ratio between 1-to-1 and 30-to-1. For example, a setting of 3 outputs 1 dB for every 3-dB
Ratio
increase above the threshold. Typical settings range from 2 to 5; higher settings produce the extremely compressed
sound often heard in pop music.
Determines how quickly compression starts after audio exceeds the Threshold setting. The default, 10
Attack
milliseconds, works well for a wide range of source material. Use faster settings only for audio with quick transients,
such as percussion recordings.
Determines how quickly compression stops when audio drops below the Threshold setting. The default, 100
Release
milliseconds, works well for a wide range of audio. Try faster settings for audio with fast transients, and slower settings
for less percussive audio.
Boosts or cuts amplitude after compression. Possible values range from -30 dB to +30 dB, where 0 is unity gain.
Output Gain
files" on page 56.)
Uses all channels of a stereo or surround waveform to calculate the amplification
Editor" on page 62
Last updated 2/16/2012
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