Adobe AUDITION 1.5 User Manual
Adobe AUDITION 1.5 User Manual

Adobe AUDITION 1.5 User Manual

Adobe music mixer user manual
Table of Contents


1 1 .5 .5
User Guide


Table of Contents

Summary of Contents for Adobe AUDITION 1.5

  • Page 1 Adobe ® Audition 1 1 .5 .5 ™ User Guide...
  • Page 2 Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end-user license agreement.
  • Page 3: Table Of Contents

    Setting up Adobe Audition About setting up Adobe Audition ......35 Setting up devices Setting Adobe Audition preferences Managing temporary files...
  • Page 4 CONTENTS Chapter 3 Chapter 4 Chapter 5 Importing, Recording, and Playing Audio Opening audio files and multitrack sessions Inserting audio files into multitrack sessions Importing audio from CD ........64 Setting the current-time indicator .
  • Page 5 Chapter 6 Applying Stereo, Pitch, and Delay Effects About using stereo, pitch, and delay effects Changing stereo imagery ........139 Using chorus, flanger, and phaser effects Changing pitch Adding delays and echoes...
  • Page 6 ........207 Working with Adobe Premiere Pro and After Effects Importing audio and video from video files...
  • Page 7 Bit depth ........... .271 Where Adobe Audition fits into the process...
  • Page 9: Learning About Adobe Audition

    Adobe provides a variety of options you can use to learn Adobe Audition, including online Help and tool tips. You can also use the Adobe Web site to easily access a wide range of continually updated Web resources, from tutorials to technical support information.
  • Page 10 In windows and dialog boxes, click the Help button or press F1. See “Keyboard Shortcuts” on page 263. Try this . . . • See the tutorials on the Adobe Studio Web site at • Browse the Adobe Press materials at (English only) and the training resources at
  • Page 11: Working With Adobe Audition

    Working with Adobe Audition You can work with Adobe Audition in many different ways. In this section, you’ll find direc- tions to specific information to help you accomplish some common Adobe Audition tasks. If you want to increase productivity •...
  • Page 12 If you want to create video soundtracks • Easily create and remix soundtracks used in Adobe projects. (See “Working with Adobe Premiere Pro and After Effects” on page 207.) • Time stretch audio clips to match video. (See “Time stretching audio clips” on page 177.)
  • Page 13: What's New In Adobe Audition

    ReWire connections” on page 42.) Expand your options with integrated support for third-party VST VST plug-in support plug-ins, which can also be used in Adobe Premiere Pro. (See “Using plug-in effects” on page 32.) Edit video soundtracks with ease. View video frames in the Enhanced video integration track display, and import a wide range of video file formats, including AVI, MPEG, and...
  • Page 14: Sound Your Best

    Get up to speed quickly by using any of the 20 sample sessions New sample sessions included with Adobe Audition. Modify the samples to create your own music. (See “About mixing multitrack sessions” on page 161.) Use more than 500 new music loops—for a total of more than New royalty-free loops 5,000—in a variety of styles including 70’s disco, classic rhumba, and wedding and event.
  • Page 15: Work Efficiently

    User Guide Work efficiently Adobe Audition puts all the tools you need at your fingertips so you can get your work done quickly and efficiently. An intuitive interface gets you up and running in no time, and integrated editing, mixing, and CD burning streamline your audio workflow.
  • Page 17: Looking At The Work Area

    files. About the work area Adobe Audition is divided into three main work areas: Edit View, Multitrack View, and CD Project View. This division is intended to help you focus on the major tasks of editing audio files, mixing sessions, and burning CDs.
  • Page 18: About Using Edit View And Multitrack View

    files in a session. (See “About editing audio” on page 83 and “About mixing multitrack sessions” on page 161.) You can change many aspects of Adobe Audition’s appearance, including the color scheme, the appearance of buttons, and the appearance of the waveform display, in the Settings dialog box.
  • Page 19: Switching Between Views

    To show and hide view tabs above the display window: Choose View > Show View Tabs. A check mark indicates that the tabs are showing. , Multitrack View button , or CD Project . Alternatively, double-click a waveform block in ADOBE AUDITION 1.5 User Guide...
  • Page 20: Choosing Commands

    When available, the keyboard shortcut appears to the right of the command name in the menu or in the tool tip for a button or icon. Adobe Audition also provides keyboard shortcuts for performing certain mouse actions. These shortcuts are listed in the Keyboard Shortcuts appendix.
  • Page 21: Using Toolbars

    To remove a keyboard shortcut or MIDI trigger from the function, click Clear. • If you enter a key combination that’s already in use, Adobe Audition notifies you of the conflict in the Conflicting Keys text box. Click Clear, and enter a different shortcut before continuing.
  • Page 22: Using Windows

    Choose View > Toolbars, and choose a number of rows from the submenu. Using windows Many windows in the Adobe Audition interface can be repositioned and resized to better suit your requirements. You can also hide windows that you’re not currently using, and then show them again when needed.
  • Page 23 To reset windows to the default layout, select Restore Default Workspace in the General tab of the Settings dialog box. (See “Setting Adobe Audition preferences” on page 43.) Showing and hiding windows You can free up space in the work area by closing windows when you aren’t using them,...
  • Page 24 CHAPTER 1 Looking at the Work Area To hide a window: Do one of the following: Choose the window name from the Window menu. • Click the button that corresponds to the window name in the View toolbar. (See “Using •...
  • Page 25: Navigating In The Display Window

    If you don’t like the default location of the zoom controls, you can reposition them or detach them so they float above the main window. (See “Using windows” on page 14.) ADOBE AUDITION 1.5 in the View toolbar. (See “Using...
  • Page 26 CHAPTER 1 Looking at the Work Area To zoom in or out by using the zoom controls: Do any of the following: Click the Zoom In Horizontally button • waveform window or session. Click the Zoom In Vertically button • waveform’s amplitude display (in Edit View) or decrease the number of viewed tracks in the session display (in Multitrack View).
  • Page 27 (Multitrack View only), or vertical ruler, and roll the mouse wheel. To set a zoom percentage for the mouse wheel, enter a value for Zoom Factor in the General tab of the Settings dialog box. (See “Setting Adobe Audition preferences” on page 43.) Scrolling The display window provides several scrolling devices.
  • Page 28 CHAPTER 1 Looking at the Work Area You can also use the wheel on your mouse to scroll in the display window. To do so, place the pointer over the display window, and roll the mouse wheel. To change the position of the horizontal scroll bar: Right-click the horizontal scroll bar, and choose a display option: Above Display or Below Display.
  • Page 29: Using The Status Bar

    Using the status bar The status bar runs along the very bottom of Adobe Audition’s main window. It can display information such as sample format, file size, and free disk space. Status bar A. Data Under Cursor B. Sample Format C. File Size D. File Size (time) E. Free Space F.
  • Page 30: Undoing And Redoing Changes

    40 and “Using sessions as SMPTE masters or slaves” on page 166. Undoing and redoing changes Adobe Audition keeps track of the edits you perform during the course of an editing session. These changes are stored in a temporary file on your hard drive. They aren’t permanently applied to the file until you save and close it, giving you unlimited undo and redo capability.
  • Page 31 To repeat the last command: In Edit View, choose Edit > Repeat Last Command. You can repeat most editing functions in Adobe Audition by using this command; however, there are a few exceptions (such as Delete). To disable or enable the Undo function: Do one of the following: •...
  • Page 32: Organizing Files And Effects

    CHAPTER 1 Looking at the Work Area Organizing files and effects The Organizer window appears in Edit View, Multitrack View, and CD Project View. This handy, tabbed window lets you easily open and close files, see a list of all open waveforms and MIDI files, choose effects with ease, and more.
  • Page 33 If the Organizer window isn’t showing, choose Window > Organizer to display it. Click the Files tab in the Organizer window. The following buttons appear at the top of the Files tab: The Import File button lets you import audio, MIDI, and video files into Adobe • Audition. The Close Files button lets you close all selected files in the Files tab.
  • Page 34 The Effects tab in the Organizer window lists all of the effects at your disposal. The listing includes all of Adobe Audition’s effects as well as all installed DirectX and VST audio plug- ins. You can change the grouping of effects to best meet your needs.
  • Page 35 Favorites are effects, scripts, and even third-party tools that you’ve saved for easy access. The Favorites tab in the Organizer window lists all of the favorites you’ve created. (These same items are listed in the Favorites menu.) Favorites tab in the Organizer window ADOBE AUDITION 1.5 User Guide...
  • Page 36: Working With Effects

    253. Working with effects Effects provide much of the functionality in Adobe Audition. For example, you use effects to remove noise, optimize volume, change pitch, and add reverb. If Adobe Audition doesn’t provide the effect you want, you may be able to purchase a plug-in effect to do the job.
  • Page 37 Select the preset, and click Del. Using graph controls Many of Adobe Audition’s effects use graph controls for adjusting parameters. By adding and moving control points on the graph, you can tailor the effect to precisely meet your needs. By default, graphs display straight lines between control points. However, some graphs provide a Splines or Spline Curves option for generating a curve between control points.
  • Page 38 CHAPTER 1 Looking at the Work Area Graph with straight lines between control points compared to graph with spline curves When you use spline curves, the line won’t travel directly through the control points. Instead, the points control the shape of the curve. To get the curve closer to a control point, click to create more control points near the point in question.
  • Page 39 In Edit View, right-click the Play button or the Play To End button controls, and choose Preroll And Postroll Options. In the Effects Preview section of the Preroll And Postroll Options dialog box, enter durations for the preroll and postroll, and click OK. ADOBE AUDITION 1.5 User Guide in the transport...
  • Page 40 DirectX and VST plug-ins let you extend the already powerful effects at your disposal in Adobe Audition. Before you can start using plug-in effects, you must set them up in Adobe Audition. For DirectX effects, this process involves enabling the effects and then refreshing the effects list.
  • Page 41 The Add/Remove VST Directory lists the directories that Adobe Audition will scan for VST plug-ins when you choose Effects > Refresh Effects List. Do either of the following: To add a new directory, click Add, locate or create the folder you want Adobe Audition • to scan for VST plug-ins, and click OK.
  • Page 43: Setting Up Adobe Audition

    Setup tasks fall into several categories. Perhaps the most important is setting up the devices you want to use with Adobe Audition. If you have multiple sound cards, or a single card that has multiple inputs and outputs, you need to specify which devices you want to use for playback and recording.
  • Page 44: Setting Up Devices

    Setting up Adobe Audition Setting up devices You can use a wide range of devices with Adobe Audition. Sound card inputs let you bring audio signals into Adobe Audition through sources such as microphones, tape decks, and digital effects units. Sound card outputs let you monitor audio signals through sources such as speakers and headphones.
  • Page 45 Properties. Setting properties for audio output devices The Device Properties dialog box lets you specify Adobe Audition’s parameters for playing back waveforms. If you have multiple sound cards, or a single card that has multiple audio outputs, you can customize the properties for each output.
  • Page 46 Limit Playback To for limitations imposed by your hardware. For example, if your sound card doesn’t handle 32-bit audio correctly, you can have Adobe Audition limit the playback of 32-bit files to either 16-bit or 8-bit. Send 32-bit Audio As device.
  • Page 47 Indicates that Adobe Audition will use the device to record Use This Device In Edit View waveforms in Edit View. Specifies how the input device sends 32-bit audio data to Adobe Get 32-bit Audio Audition. If supported by the recording device, you can send 32-bit audio as 3-byte Packed PCM, 4-byte PCM, or 4-byte IEEE float.
  • Page 48 You cannot record audio directly from a MIDI input device into Adobe Audition. In order to work with MIDI data in Adobe Audition, you must save the MIDI data to a file using a MIDI sequencing application, and then import the MIDI file into a session as a clip. Once you have MIDI clips in a session, you can map them to a specific MIDI output device and...
  • Page 49 You can use external controllers, such as the Mackie Control, when recording and mixing in Adobe Audition. These devices let you edit audio tracks using real knobs and automated faders, instead of your mouse and computer keyboard. The Device Properties dialog box lets you configure external controllers and specify a volume increment.
  • Page 50 Audition as a ReWire host, see “Working with ReWire tracks” on page 184. Note: Before enabling ReWire in Adobe Audition you must close all other ReWire host and slave applications. After activating a slave application from within Adobe Audition, you will launch the application to establish the ReWire connection.
  • Page 51: Setting Adobe Audition Preferences

    Once you click OK, most changes take effect immediately. If a change requires that you close and reopen Adobe Audition, you'll be prompted to do so. For example, you need to close and reopen Adobe Audition when you set up a different temporary folder.
  • Page 52 45.) Upon A Manual Scroll/Zoom/Selection Change a manual scroll, a zoom, or a selection change occurs in Adobe Audition. You can abort auto-scrolling until the next time you play or record; resume auto-scrolling only when the play cursor enters the view; or resume auto-scrolling immediately. Choose the one that best suits your needs.
  • Page 53 Deselect this option for easier multiple pastes, one after the other. System options The System tab in the Settings dialog box provides options for configuring how Adobe Audition interacts with your system. Disables the Ctrl key from preventing a ADOBE AUDITION 1.5...
  • Page 54 Recommended cache sizes are from 8192 to 32768 KB (8192 KB is the default). Select Use System’s Cache to let Windows handle all disk caching. Keep in mind that Adobe Audition usually handles caching better than Windows can. However, this option reserves the least amount of memory, so it may be desired for systems with low amounts of RAM.
  • Page 55 All temporary files begin with CEP and have the .tmp extension. The rest of the filename is chosen at random when the file is created. If there are no copies of Adobe Audition running, none of these files should be present, since Adobe Audition normally deletes temporary files when it exits.
  • Page 56 Audition quickly saves files that contain only minor modifications. If you enable this option and force a flush before saving, Adobe Audition saves all files by making a backup copy of the file internally and then writing the entire file back.
  • Page 57 3D color. • Use Specified 3D Color: Select to make Adobe Audition’s dockable windows use the 3D color you specify. To change the 3D color, select Dockable Windows 3D Color in the controls list, and then click the Change Color button to select a new color.
  • Page 58 Specifies the number of vertical bands used in drawing frequencies. Keep in Resolution mind that the larger this number, the longer it will take for Adobe Audition to render the spectral display. Performance will vary based on the speed of your computer.
  • Page 59 Audition handles audio data. Embed Project Link Data For Edit Original Functionality mixdown files. Once these files are linked, you can select a mixdown file in Adobe Premiere Pro or After Effects, and then open and remix the related session in Adobe Audition’s Multitrack View.
  • Page 60 Setting up Adobe Audition Dither Transform Results (increases dynamic range) effects such as FFT Filter or Amplify. Most processing done by Adobe Audition uses arith- metic greater than 16-bit, with the results converted back to 16-bit when complete. During this conversion, dithering provides a higher dynamic range and cleaner results, with less distortions and negative artifacts.
  • Page 61 When pasting different sample formats, Adobe Audition Auto-Convert Settings For Paste uses these settings when auto-converting the clipboard to the current sample format. Valid settings range from 30 to 1000. Downsampling Quality Level: Enter a value (30 to 1000) for downsampling quality.
  • Page 62 Cancel button while in the middle of applying an effect to a waveform. When selected, Adobe Audition leaves the effect applied to all data processed up until the point you clicked Cancel. When deselected, Adobe Audition automatically removes the effect on already processed data when you click Cancel.
  • Page 63 ADOBE AUDITION 1.5 User Guide Determines the order in which Adobe Audition opens a sound card’s playback Open Order (in) and record (out) ports for use in the multitrack environment. This order is relevant only for older sound cards that don’t support full-duplex capability.
  • Page 64 CHAPTER 2 Setting up Adobe Audition Note: On sound cards that support sample accurate devices (that is, synchronized device starting, and all devices keyed off of the same clock) you don’t need to select this option. This option allows for some measure of near sample-accurate synchronization across different sound cards or a situation where a single sound card uses different clocks for playback and recording.
  • Page 65: Managing Temporary Files

    Enables smooth scrolling when playing back Smooth Auto-Scrolling During Playback audio in Multitrack View. By default Adobe Audition uses a paging method of scrolling in Multitrack View instead of the smooth scrolling technique used in Edit View. This saves on system resources.
  • Page 66 Use the Status Bar to monitor the amount of free disk space. (See “Using the status bar” on page 21). Adobe Audition doesn’t create a temporary file for a waveform until you edit the waveform. However, you can force Adobe Audition to create a temporary file by using the Flush Virtual File command.
  • Page 67 Cancel Last Operation. This option is useful only if the dialog box automatically appeared because you ran out of storage space. If Adobe Audition crashes, there may be a temp file (CEPx*.tmp) in your temporary folder that you should manually delete.
  • Page 69: Importing, Recording, And Playing Audio

    Note: If you don’t see the name of the file you want, choose All Supported Media from the Files Of Type menu. If you still don’t see the file, it might be stored in a format that Adobe Audition can’t read.
  • Page 70 Determines the number of unique amplitude levels Adobe Audition can use Resolution to represent a sound. The 32-bit level is best while you work in Adobe Audition, and you convert down for output if necessary.
  • Page 71: Inserting Audio Files Into Multitrack Sessions

    For example, if the current session uses tracks 1-4, Adobe Audition appends tracks 5 and greater and places them at the beginning of the timeline. If desired, you can then move clips in appended tracks to a new position.
  • Page 72: Importing Audio From Cd

    This method lets you insert a file into a session without leaving Edit View. (See “Organizing files” on page 24.) Note: If the audio file is longer than the space available on the selected track, Adobe Audition inserts the new clip on the nearest empty track.
  • Page 73 Adobe Audition provides two methods for ripping tracks from CDs: using the Open command and using the Extract Audio From CD command. Using the Open command is the quickest method and is preferred for ripping entire tracks. Using the Extract Audio From CD command gives you more control, such as the abilities to rip partial tracks and specify the ripping process used.
  • Page 74 If you select ASPI/SPTI in the Extract Audio from CD dialog box, set the following options as desired: Lets you choose the way Adobe Audition reads CD audio. Several methods Read Method are provided, many of them developed before the SCSI 3 specifications were published.
  • Page 75 If you have an older CD-ROM drive that doesn’t support digital extraction, or if you have problems ripping a track into Adobe Audition, then you can record from a CD in real-time through the sound card on your computer. This method is called internal recording. Keep in mind that not all PC's have an analog cable from a CD drive, and not all computers react the same way when recording from CD internally.
  • Page 76: Setting The Current-Time Indicator

    To preview the CD Audio input level: Open your favorite third-party CD player application (such as Windows Media Player). Start playing the loudest part of the CD. Then, switch to Adobe Audition, and choose Options > Monitor Record Level. Use the Level Meters in Adobe Audition to monitor the amplitude of the incoming signal.
  • Page 77: Monitoring Time

    In Multitrack View, choose Options > Synchronize Clips With Edit View. Monitoring time Adobe Audition provides several features to help you monitor time during recording and playback. The playback cursor—a vertical, white line that appears in the display window— shows you the current time in the waveform. The Time window shows the current time in numerical format.
  • Page 78 CHAPTER 3 Importing, Recording, and Playing Audio Features that help you monitor time A. Playback cursor B. Timeline C. Time window To display the Time window: Do one of the following: Choose Window > Time. A check mark indicates that the window is visible. •...
  • Page 79: Using The Transport Controls

    Edit Custom Time Format, enter a number of frames per second for Custom Time Code Display, and click OK. Using the transport controls Just like many hardware-based audio recording and playback devices, Adobe Audition provides transport controls for playing, recording, stopping, pausing, fast forwarding, and rewinding waveforms and sessions.
  • Page 80: Recording Audio

    Note: You may need to adjust the input signal to obtain the optimum recording and signal-to- noise levels. (See “Adjusting a sound card’s levels” on page 82.) By default, Adobe Audition displays waveforms in real time while recording. However, if the recorded audio is choppy, deselect Live Update During Recording in the General tab of the Settings dialog box.
  • Page 81 Select Right Away to begin recording as soon as you click OK. • Select Time/Date to begin recording at a time you specify (for example, to have Adobe • Audition capture a radio broadcast at a certain time). Enter the starting time and date in the appropriate text boxes, and set the desired time and date options.
  • Page 82 CHAPTER 3 Importing, Recording, and Playing Audio To record a new clip in a track: In the track controls area for the track, click the In 1 button, select the desired input of your sound card, and then click OK. Click the Record-enable button To simultaneously record on multiple tracks, repeat steps 1-2 for each track.
  • Page 83: Playing Audio

    Adobe Audition provides several ways to play audio, including using the transport controls to play the currently active file, using the Organizer window to preview files, and using the Windows Run command to start Adobe Audition and begin playing a file. Playing audio by using the transport controls The transport controls provide several options for playing the currently active file.
  • 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. (See “Setting Adobe Audition preferences” on page 43.) 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. Adobe Audition automatically previews files you select. To disable auto-play, click the Auto-play button again.
  • Page 86: Stopping, Pausing, And Adjusting The Playback Cursor

    In the Windows Run dialog box, type the following text, and click OK: " [dr ive]:\Pro g r am Files\Adobe\Audit ion 1.5\Audit ion.exe" " [ p at h t o fi l e ] " For example, type the following to play the TalkBackVerb loop file: "c:\Pro g r am Files\Adobe\Audit ion 1.5\Audit ion.exe"...
  • Page 87: Monitoring Recording And Playback Levels

    View) or at the end of the list clip in a session (in Multitrack View). 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;...
  • Page 88 CHAPTER 3 Importing, Recording, and Playing Audio Using the Level Meters The Level Meters represent the incoming signal in dBFS (decibels below full scale), where a level of 0 dB is the maximum amplitude possible before clipping occurs. Yellow peak indicators remain for 1.5 seconds to allow for reading of the peak amplitude.
  • 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). ADOBE AUDITION 1.5 User Guide...
  • Page 90 Adjusting a sound card’s levels Adobe Audition doesn’t directly control a sound card’s record levels (input gain) and playback levels (output volume). Instead, you can adjust these levels with the mixer appli- cation that comes with the sound card or with the mixer built into Windows.
  • Page 91: Editing Audio

    Chapter 4: Editing Audio dobe Audition provides a powerful and easy-to-use interface for preforming a variety of editing tasks, such as copying, pasting, and deleting; adding and removing silence; generating noise and tones; changing the sample type; and adding information to audio files. About editing audio When you open an audio file in Edit View, you see the waveform display, a visual represen- tation of the sound wave, or waveform.
  • Page 92: Creating New Audio Files

    (See “Zooming” on page 17.) Adobe Audition provides a variety of ways to select audio data precisely, such as adjusting selections to zero-crossings, finding beats, and using snapping.
  • Page 93: Viewing Waveforms

    32-bit creates a waveform that supports the most precise audio processing, and 32-bit is the recommended resolution for editing files in Adobe Audition. After you edit a file, you can downsample it to 16- or 8-bit for output and achieve better results than if you edit an 8- or a 16-bit file.
  • Page 94 Choose View > Waveform View or View > Spectral View. Alternatively, click the Toggle Between Waveform And Spectral Views button Adobe Audition lets you customize certain features of Waveform View and Spectral View. For example, you can show or hide grid lines in Waveform View and change the resolution in Spectral View.
  • Page 95: Selecting Audio Data

    Selecting audio data To edit a waveform, you must first select the audio data that you want to modify. Adobe Audition provides several methods for making and adjusting selections. Using cues ranges can save you time when making selections. (See “Working with cues”...
  • Page 96 CHAPTER 4 Editing Audio To select a range in only one channel: Do one of the following: Drag near the top of the left (upper) channel. The cursor displays an L icon to indicate • the left channel. Drag near the bottom of the right (lower) channel. The cursor displays an R icon to •...
  • Page 97 Adjust Left Side To Left adjusts the left range boundary leftward to the next zero- • crossing point. Adjust Left Side To Right adjusts the left range boundary rightward to the next zero • crossing point. ADOBE AUDITION 1.5 in the toolbar. in the toolbar. User Guide...
  • Page 98 If you want to select more than one beat, choose Edit > Find Beats > Find Next Beat (Right) again. Each time you choose this command, Adobe Audition adds the next beat to the selection.
  • Page 99 Snap To Frames (Always) allows the cursor to snap to a frame boundary, as long as the • time format is measured in frames (such as Compact Disc and SMPTE). This command is especially handy for working on audio for CD. You can access snapping commands by right-clicking the timeline. ADOBE AUDITION 1.5 User Guide...
  • Page 100: 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 101 If the format of the data on the clipboard differs from the format of the file it’s being pasted into, Adobe Audition automatically converts the format before pasting the data. The Paste To New command lets you create a new file and insert audio data from the active clipboard.
  • Page 102 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 103 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.
  • Page 104: Working With Cues

    About cues In Adobe Audition, a cue can be either a point or a range. A point refers to an exact position within a waveform (for instance, 1:08.566 from the start of the wave). A range has both a start time and an end time (for example, all of the waveform from 1:08.566 to 3:07.379).
  • Page 105 Click the Auto Play button in the Cue List window. Choosing a cue type Adobe Audition provides four cue types. All four can be ranges as well as points, although it doesn’t really make sense for index cues to be ranges. Consider the following when...
  • Page 106 CHAPTER 4 Editing Audio • Beat Cues is just like Basic Cues, but you use it to mark musical beats. Beat cues are a very powerful feature because an audio file saved with them allows the beat mapping loop method to be very accurate. For more information on creating and using loops, see “About loops”...
  • Page 107 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. If you find that you don’t need a cue, you can delete it.
  • Page 108 Options button is enabled. Click this button to select options. Adds silence between cue points in the waveform. Enter the Specifies a prefix for the new files. Adobe Audition automatically adds Specifies the folder where Adobe Audition places the new files. Click...
  • Page 109 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.
  • Page 110: Creating Play Lists

    CHAPTER 4 Editing Audio • Find Levels scans the waveform (or a selected range) to have Adobe Audition automat- ically determine a good starting point for signal levels. Suggested values appear in the appropriate text boxes. If these values don’t do the job—for example, words or phrases get chopped off—lower the signal level values.
  • Page 111: Creating And Deleting Silence

    file. 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. ADOBE AUDITION 1.5...
  • Page 112 To delete silence: If you want to delete silence from part of a waveform, select the desired range of audio data. If you don’t select a range, Adobe Audition deletes silence from the entire waveform. Choose Edit > Delete Silence.
  • Page 113 Determines what Adobe Audition considers audio. In the Signal Is “Audio” Is Defined As 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 value.
  • Page 114: Inverting And Reversing Audio

    Choose Effects > Reverse. 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 115 Specifies the length that is assigned to the pause character when it is used in Pause Time the Dial String text box. Specifies which character Adobe Audition interprets as a pause. Pause Character Generates DTMF signals by using combinations of the frequencies 697 Hz, DTMF Signals 770 Hz, 852 Hz, 941 Hz and 1209 Hz, 1336 Hz, 1477 Hz, and 1633Hz.
  • Page 116 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 117 Intensity noise becomes more erratic and sounds harsher and louder. Determines the number of seconds of noise that Adobe Audition generates. Duration For very long periods of noise, it’s faster to generate a shorter period (say, about 10 to 20 seconds) and delete excess noise at the beginning and end so that the waves start and end at the midpoint.
  • Page 118: Converting The Sample Type

    (whether the waveform is mono or stereo). You can convert the sample type to change any of these attributes. When you convert the sample type of a file, Adobe Audition directly processes the samples within the file, or resamples the data, so that the audio retains the same pitch and duration as the original file.
  • Page 119 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. To check the capabilities of your sound card, choose Options >...
  • Page 120 CHAPTER 4 Editing Audio Higher values retain more high frequencies (they prevent aliasing of higher frequencies to lower ones), but the conversion takes longer. Lower values requires less processing time but result in certain high frequencies being “rolled off,” leading to muffled-sounding audio.
  • Page 121 You can raise the bit depth of a file to gain a greater dynamic range, or you can lower the bit depth to reduce the file size. 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 122 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 0.2...
  • Page 123 To create a sample rate conversion preset: Choose Edit > Convert Sample Type. 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. ADOBE AUDITION 1.5 User Guide...
  • Page 124: Adding File Properties

    CHAPTER 4 Editing Audio To apply a sample rate conversion preset: Choose a preset from the list. The sample type settings change to the settings defined in the preset. To delete a sample rate conversion preset: Choose the preset from the list, and click Delete. Adding file properties The Wave Properties command opens a tabbed window that lets you add and get infor- mation about the active waveform.
  • Page 125: Enhancing And Restoring Audio

    Mastering describes the complete process of restoring and enhancing audio files for a particular medium, such as radio, video, CD, or the Web. In Adobe Audition, you can master either individual audio files in Edit View or groups of files in a batch process.
  • Page 126: Analyzing Frequency, Phase, And Dynamic Range

    In Edit View, you can analyze the frequency, phase, and dynamic range of an audio file. These analysis options are particularly helpful when used in conjunction with the many enhancement and restoration effects in Adobe Audition. For example, you can use the Frequency Analysis window to identify problematic frequency bands, which you can then correct with a filter effect.
  • Page 127 In Edit View, select or play a range of the waveform. Choose Window > Frequency Analysis, and set options as desired: Sets the graph display to a linear horizontal frequency scale when selected or Linear View a logarithmic scale when deselected. ADOBE AUDITION 1.5 User Guide...
  • Page 128 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. For more information, search for “Advanced frequency analysis options” in Help.
  • Page 129 To zoom in on a particular area of the Phase Analysis graph, use the horizontal and vertical rulers. See “Zooming graphs for frequency and phase analysis” on page 122. Phase Analysis window with display menu revealed ADOBE AUDITION 1.5 User Guide...
  • Page 130 CHAPTER 5 Enhancing and Restoring Audio To analyze phase: In Edit View, select or play a range of the waveform. Choose Analyze > Show Phase Analysis, and set options as desired: Enlarges the phase analysis lines so that they reach the edge of the graph. Normalize Select from the following options: Display menu...
  • Page 131 RMS formula. Use the Histogram tab to identify prevalent amplitudes, and then compress, limit, or normalize them with an amplitude effect. (See “Optimizing amplitude” on page 134.) ADOBE AUDITION 1.5 User Guide...
  • Page 132 CHAPTER 5 Enhancing and Restoring Audio Waveform Statistics dialog box, Histogram tab To view a waveform histogram: In Edit View, select an audio range. Choose Analyze > Statistics, and click the Histogram tab. 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 133: Removing Noise

    5 to 40. Run Size is the second most important parameter. A setting of about 25 is best for high-quality work. For the highest quality, apply the Click/Pop Eliminator in three successive passes (where each pass is faster than the previous one). ADOBE AUDITION 1.5 User Guide...
  • Page 134 CHAPTER 5 Enhancing and Restoring Audio Click/Pop detection graph A. Level of detected clicks and pops B. Level of rejected clicks and pops To visually identify clicks, zoom in and use Spectral View with a resolution of 256 bands and a window width of 40%. (You can access these settings in the Display tab of the Settings dialog box.) Most clicks appear as bright vertical bars that extend from the top to the bottom of the waveform display.
  • Page 135 (See “Using the Noise Reduction effect (Edit View only)” on page 128.) To reduce hiss: In Edit View, select an audio range. In the Effects tab of the Organizer window, expand Noise Reduction, and double-click Hiss Reduction. Set the desired options. ADOBE AUDITION 1.5 User Guide...
  • Page 136 CHAPTER 5 Enhancing and Restoring Audio For more information, search for “Hiss Reduction options” in Help. Using the Noise Reduction effect (Edit View only) The Noise Reduction effect dramatically reduces background and broadband noise with a minimal reduction in signal quality. This effect can remove a wide range of noise, including tape hiss, microphone background noise, 60-cycle hum, or any noise that is constant throughout a waveform.
  • Page 137: Filtering Audio

    The Dynamic EQ dialog box provides three areas of controls: Gain, Frequency, and Q (bandwidth). Frequency graph of the Dynamic EQ effect in Edit View (Rhythmic Sweep preset) ADOBE AUDITION 1.5 User Guide...
  • Page 138 CHAPTER 5 Enhancing and Restoring Audio Dynamic EQ is especially effective as a real-time effect in Multitrack View, where you can use clip envelopes to adjust the Gain, Frequency, and Q parameters. To use the Dynamic EQ effect: Select an audio range (Edit View) or track (Multitrack View). In the Effects tab of the Organizer window, expand Filters, and double-click Dynamic EQ.
  • Page 139 The Notch Filter effect removes up to six user-defined frequency bands, in addition to standard telephone DTMF tones. Use this effect to remove very narrow frequency bands, such as a 60 Hz hum, while leaving all surrounding frequencies untouched. ADOBE AUDITION 1.5 User Guide...
  • Page 140 CHAPTER 5 Enhancing and Restoring Audio To use the Notch Filter effect: Select an audio range (Edit View) or track (Multitrack View). In the Effects tab of the Organizer window, expand Filters, and double-click Notch Filter. Set the desired options. For more information, search for “Notch Filter options”...
  • Page 141 (measured in degrees) or group delay (measured in milliseconds), depending on whether the Phase or Delay option is selected. Increase the graph’s display range by selecting Extended Range. ADOBE AUDITION 1.5 User Guide...
  • Page 142: Optimizing Amplitude

    CHAPTER 5 Enhancing and Restoring Audio Scientific Filters graph for Butterworth filter (Remove Subsonic Rumble preset) A. Group Delay (milliseconds) B. Frequency Response (dB) To use the Scientific Filters effect: In Edit View, select an audio range. In the Effects tab of the Organizer window, expand Filters, and double-click Scientific Filters.
  • Page 143 To use the Envelope effect: In Edit View, select an audio range. In Effects tab of the Organizer window, expand Amplitude, and double-click Envelope. Set the desired options. For more information, search for “Envelope options” in Help. ADOBE AUDITION 1.5 User Guide...
  • Page 144 CHAPTER 5 Enhancing and Restoring Audio Using the Dynamics Processing effect The Dynamics Processing effect varies the output level of a waveform based on its input level. You can use this effect to limit or compress dynamic range, producing a consistent level of perceived loudness.
  • Page 145 100% and the quiet low to 40%. To apply RMS normalization, you must use the Group Waveform Normalize command. If desired, you can apply that command to only one file. (See “Normalizing groups of files” on page 244.) ADOBE AUDITION 1.5 User Guide...
  • Page 146 CHAPTER 5 Enhancing and Restoring Audio To use the Normalize effect: In Edit View, select an audio range. In the Effects tab of the Organizer window, expand Amplitude, and double-click Normalize. Set the desired options. For more information, search for “Normalize options” in Help.
  • Page 147: Applying Stereo, Pitch, And Delay Effects

    Chapter 6: Applying Stereo, Pitch, and Delay Effects f you want to add richness and depth to sound, you can use the effects in Adobe Audition to change stereo imagery or simulate acoustic spaces. You can add subtle or psychedelic audio effects, and you can even correct the pitch of an out-of-tune singer.
  • Page 148 140 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects To use the Binaural Auto-Panner effect: In Edit View, select a stereo range. In the Effects tab of the Organizer window, expand Amplitude, and double-click Binaural Auto-Panner. Set the desired options. For more information, search for “Binaural Auto-Panner options”...
  • Page 149 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. ADOBE AUDITION 1.5 User Guide...
  • Page 150 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects To use the Center Channel Extractor effect: Select a stereo range. In the Effects tab of the Organizer window, expand Filters, and double-click Center Channel Extractor. Set the desired options. For more information, search for “Center Channel Extractor options” in Help. 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.
  • Page 151: Using Chorus, Flanger, And Phaser Effects

    “thickness” to a vocal track. 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.
  • Page 152 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects Using the Flanger effect Flanging was originally achieved by sending an audio signal to two reel-to-reel tape recorders and then physically slowing down the reels of one machine. The resulting sound has a phase-shifted, time-delay effect, characteristic of psychedelic recordings of the 1960s and 1970s.
  • Page 153: Changing Pitch

    For more information, search for “Graphic Phase Shifter options” in Help. Changing pitch The effects in Adobe Audition let you change the pitch, raising or lowering a person’s voice or musical notes. 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.
  • Page 154 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects Using the Pitch Correction effect (Edit View only) The Pitch Correction effect provides two ways to make pitch adjustments for vocals or solo instrumentation. Automatic mode analyzes the audio content and automatically corrects the pitch based on the key you define, without your having to analyze each note.
  • Page 155: Adding Delays And Echoes

    35 milliseconds or more create discrete echoes, while those between 15-34 milliseconds can create a simple chorus or flanging effect. (These results won’t be as effective as the actual Chorus or flanging effects in Adobe Audition, as the delay settings are fixed and don’t change over time.)
  • Page 156 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects Dynamic Delay is especially cool when used as a real-time effect in Multitrack View. If you add the dynamic delay (or Dynamic EQ, which has a similar principle) to Multi- track View, you get a new envelope that determines the delay. To use the Dynamic Delay effect: Select an audio range (Edit View) or track (Multitrack View).
  • Page 157 The number of echoes is adjustable up to 500,000. Keep in mind that the more echoes you include, the more time Adobe Audition needs to process the effect. You can create a spatial, stereo expansion effect by setting the virtual microphones farther apart than your actual stereo speakers.
  • Page 158: Adding Reverb

    All these reflected sounds might reach your ears so closely together that you cannot discern them as separate echoes. However, they give an impression of space. With Adobe Audition, you can customize the reverb and replicate a variety of room environments.
  • Page 159 View, without needing to “lock” effects to a track. For slightly faster processing and more control, you can also use the Studio Reverb effect. For more information, see “Using the Studio Reverb effect” on page 153. ADOBE AUDITION 1.5 User Guide...
  • Page 160 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects To use the QuickVerb effect: Select an audio range (Edit View) or track (Multitrack View). In the Effects tab of the Organizer window, expand Delay Effects, and double-click QuickVerb. Set the desired options. For more information, search for “QuickVerb options”...
  • Page 161: Creating Special Effects

    You can use the Convolution effect to use one waveform to modify another, the Distortion effect to make a waveform sound as if it’s coming from an overdriven amplifier or speaker, and the Music effect to create notes and chords sampled from a waveform. ADOBE AUDITION 1.5 User Guide...
  • Page 162 To get a feel for Convolution, open and play with some of the sample Impulse (.imp) files that come with Adobe Audition. You can find them in the Imps folder within the folder for Adobe Audition and on the Adobe Audition CD.
  • Page 163 The Music effect lets you use any short selection as a “voice” to synthesize music or harmonize a wave using a particular chord. While this function is far from a complete MIDI authoring studio, it provides a quick and simple way to put a sample to music. ADOBE AUDITION 1.5 User Guide...
  • Page 164: Using Multitrack-Only Effects

    In Edit View, select the part of the waveform you want to use as a quarter note. Note: This selection must be under ten seconds long. If you don’t select a range, Adobe Audition uses the data on the clipboard instead. Keep in mind that the clipboard data is filled with the sample automatically after music is generated.
  • Page 165 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. ADOBE AUDITION 1.5 User Guide...
  • Page 166 CHAPTER 6 Applying Stereo, Pitch, and Delay Effects For example, using the default setting of three bands with crossover values of 800 and 3200 creates three copies of the selected waveform: one with the frequencies of the selected wave from 0 to 800 Hz, one from 800 to 3200 Hz, and one from 3200 to 22050 Hz (or whatever the maximum frequency present is, based on the sample rate).
  • Page 167 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. Set the desired options. For more information, search for “Vocoder options” in Help. ADOBE AUDITION 1.5 User Guide...
  • Page 169: Mixing Multitrack Sessions

    Adobe Audition saves information about mix settings and source files in session (.ses) files. Session files are relatively small because they contain only pathnames to source files and references to mix parameters (such as volume, pan, and effect settings).
  • Page 170: Working With Sessions

    110.) Any files added to the session must share this sample rate. If you try to import a file with a different sample rate, Adobe Audition lets you convert it. You can base new sessions on the default session, borrowing default settings such as device...
  • Page 171 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 172 CHAPTER 7 Mixing Multitrack Sessions To insert or delete time in a session: Place the current-time indicator at the desired insertion point, or select the range you want to delete. Choose Edit > Insert/Delete Time, and set the following options: Shifts all material (clips or parts of clips) to the right of the current-time indicator Insert by the amount you specify in the text box.
  • Page 173 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). Background mixing lets you monitor an updated mixdown of a session and is complete when the Mix Gauge reaches 100%.
  • Page 174 • Lower Mix Priority When In Other Applications. • A Mix Ahead setting to determine how far ahead of the current time Adobe Audition • begins mixing. Longer settings allow for faster mix editing, but they might cause drop outs.
  • Page 175: Setting Advanced Session Properties

    Note: Adobe Audition sends and receives timecode through the MIDI Out and MIDI In ports of your system. To configure these ports, see “Setting up for SMPTE synchronization” on page 40. To use a session as a SMPTE master: Choose Options > SMPTE Master Enable.
  • Page 176: Working With Clips

    CHAPTER 7 Mixing Multitrack Sessions Working with clips When you insert an audio, MIDI, or video file in Multitrack View, the file becomes a clip on the selected track. You can easily move clips to different tracks or timeline positions. You can also edit clips nondestructively, trimming their start and end points, crossfading them with other clips, and more.
  • Page 177 To change the color for a group: Select any clip in the group, and choose Edit > Group Color. Alternatively, right-click any clip in the group, and choose Group Color. Select a color, and click OK. in the toolbar. ADOBE AUDITION 1.5 User Guide...
  • Page 178 CHAPTER 7 Mixing Multitrack Sessions Aligning clips You can align the left or right edges of multiple clips, giving them the same start or end point. To align clips: Hold down Ctrl, and select the clips. Choose Edit > Align Left or Edit > Align Right. Note: Because the relative position of grouped clips is fixed, you must ungroup them to align them.
  • Page 179 Drag to edit clip edges. To slip edit a trimmed or looped clip: In the toolbar, click the Move/Copy Clip tool Hold down Alt, and right-click drag across the clip. ADOBE AUDITION 1.5 appears, position the cursor or the Hybrid tool User Guide...
  • Page 180 CHAPTER 7 Mixing Multitrack Sessions To return to the full, original version of a clip: Select the clip, and choose Edit > Full. Alternatively, right-click the clip, and choose Full. The Full command doesn’t apply to loops; instead, adjust clip boundaries by dragging them.
  • Page 181 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. or the Hybrid tool in the toolbar. ADOBE AUDITION 1.5 User Guide...
  • Page 182 CHAPTER 7 Mixing Multitrack Sessions To copy a clip to a different track or to irregular positions in the current track, see “Copying audio and MIDI clips” on page 173. To repeat a clip: Select the clip, and choose Edit > Clip Duplicate. Set the following options: Specifies the number of times to duplicate the clip.
  • Page 183 • To change the clip name, type in the Filename text box. (When you save the session, • Adobe Audition prompts you to save a copy of the source file with the new clip name.) ADOBE AUDITION 1.5 User Guide...
  • Page 184 CHAPTER 7 Mixing Multitrack Sessions Crossfading audio clips You can crossfade audio clips to transition smoothly from the end of one clip to the beginning of another. Crossfades consist of a fade out and a fade in over a transition region.
  • Page 185 You can quickly time stretch a clip either by dragging or setting time stretch properties. When you time stretch by dragging, Adobe Audition analyzes a clip’s contents and attempts to select the most natural sounding time-stretch method. When you set properties for time stretching, you also specify which method of time stretching to use.
  • Page 186 CHAPTER 7 Mixing Multitrack Sessions Choose one of the following time stretching options from the pop-up menu, set related options, and then click OK: Time-Scale Stretch commonly used for melodic instruments, like piano, bass, and guitar. Because this method bases the stretch on the actual length and duration of the file, use it only to stretch audio that doesn’t have well-defined beats, like a synth pad or sustained string section.
  • Page 187: Working With Audio Tracks

    Working with audio tracks You can record and mix up to 128 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.
  • Page 188 CHAPTER 7 Mixing Multitrack Sessions Using the Track Properties window In the Track Properties window, you can adjust several settings for the selected track, including volume, pan, output device, and bit depth. Though you can quickly access most of these options in the track controls, the Track Properties window offers channel and bit depth menus, and visual sliders for volume and pan.
  • Page 189 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. ADOBE AUDITION 1.5 User Guide...
  • Page 190 CHAPTER 7 Mixing Multitrack Sessions The list of devices is determined by the devices you designate in the Device Order dialog box. (See “Designating which devices you want to use” on page 36.) Setting track channel and bit depth To set the channel and bit depth for a track, use the Track Properties dialog box. Track Properties dialog box with channel menu revealed and bit-depth menu highlighted To set channel and bit depth for a track:...
  • Page 191 Select the track, and then choose Window > Track EQ. Alternatively, click the EQ tab in the track controls, and then right-click the H, M, or L box. Set the desired options. For more information, search for “Track Equalizers options” in Help. ADOBE AUDITION 1.5 User Guide...
  • Page 192: Working With Rewire Tracks

    Similarly, you can assign a different device to a ReWire track at any time. 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.
  • Page 193: Working With Midi Tracks

    MIDI clips to audio clips by recording the output of a MIDI sound module on an audio track. Note: In general MIDI terminology, MIDI tracks are instrument tracks in MIDI files. In Adobe Audition, however, MIDI tracks contain MIDI clips, which in turn contain instrument tracks.
  • Page 194 CHAPTER 7 Mixing Multitrack Sessions To apply a real-time effect to a track: From the Effects tab of the Organizer window, drag the effect to the track. If the Organizer window is closed, right-click the FX button in the track controls, choose Rack Setup, and add the effect in the Effects Rack dialog box.
  • Page 195 To change the ratio of dry to wet sound that the track outputs, move the Dry Out slider and the effects sliders. • To bypass an effect, click Bypass. To combine effects in serial or parallel groups, click either Serial or Parallel. • ADOBE AUDITION 1.5 User Guide...
  • Page 196: 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 197 To move all control points up or down by the same amount, hold down Alt while you drag. (This option retains envelope shape, restricting movement to the limits defined by the highest and lowest control points.) ADOBE AUDITION 1.5 User Guide...
  • Page 198: Using The Mixers Window

    CHAPTER 7 Mixing Multitrack Sessions Note: With MIDI clips, volume envelopes control MIDI velocity, which usually represents the force with which a note is struck. However, some synthesizers are programmed so that velocity changes pitch or harmonic content. To clear all control points for an envelope: Right-click the clip containing the envelope, and choose Envelopes >...
  • Page 199 To automate volume and pan changes over time, use clip envelopes. (See “Automating mixes with clip envelopes” on page 188.) The Track Mixer A. Track controls B. Control display buttons C. Scroll bar ADOBE AUDITION 1.5 User Guide...
  • Page 200 Pan shows and hides the Pan controls. • M/S: Shows and hides the Mute and Solo buttons. Opens the Adobe Audition Playback Devices window, which lets you assign the Out 1 output properties for the selected track. The button’s label changes to reflect the output device (for example, Device 2 or Bus C).
  • Page 201 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.
  • Page 202 CHAPTER 7 Mixing Multitrack Sessions The Bus Mixer A. Bus controls B. Scroll bar To create and configure a new bus: In Multitrack View, choose Window > Mixer. Click the Bus Mixer tab, and then click New in the right-most Bus channel. In the Bus Properties dialog box, enter a name in the Friendly Name field, and select an output device.
  • Page 203 (or click the triangle below it) to reduce volume. Alternatively, enter a value in decibels in the text box above the slider. Lets you scroll through buses if all of them don’t fit in the Bus Mixer tab. Scroll bar ADOBE AUDITION 1.5 User Guide...
  • Page 204: Mixing Down Rewire Tracks And Specific Audio Clips

    CHAPTER 7 Mixing Multitrack Sessions Mixing down ReWire tracks and specific audio clips You can mix down ReWire tracks and specific audio clips to a new file that opens in Edit View, an empty track in the current session, or a track in a CD project. You can also mix down entire sessions, exporting them in a variety of formats.
  • Page 205: Using Loops

    With Adobe Audition, you can create your own loops or access any of the thousands supplied in the Adobe Audition Loop Library.
  • Page 206: Defining Loops

    Find Beats And Mark command, and see “Finding beats” on page 90 for information on setting up Adobe Audition to find beats. The beats in the waveform are now indicated, helping you select a start and end that lands on the beat.
  • Page 207: Calculating The Tempo Of Selected Ranges

    Defines the bar and beat information for the selection’s starting point (or Current Beat At the current cursor position if no selection has been made). Adobe Audition assumes that this represents a downbeat. Changing this value updates the Song Start value based on the current tempo settings.
  • Page 208: Setting Permanent Loop Properties In Edit View

    Click the Loop Info tab. Set any of the following options, click OK, and then save the file: Tells Adobe Audition that the file is a loop. If the file is inserted into a Multitrack Loop session, looping is enabled automatically for that audio clip.
  • Page 209 Specifies the loop’s key, so that if you create a session and want to adjust the key of all audio clips globally, Adobe Audition has a reference for each file. If a loop file is a drum track, choose Non-Voiced. This option is especially important if you plan to change the key of multiple loops in a session, because you won’t want to pitch-shift a drum track to...
  • Page 210: Setting Impermanent Loop Properties In Multitrack View

    Repeat Every X Beats are entered automatically so that the audio clip loops continu- ously at the proper tempo. If you change the Repeat Every X Seconds value, Adobe Audition ignores the tempo and stretches the file to finish its loop in the specified number of seconds.
  • Page 211 Repeat Every X Beats are entered automatically so that the audio clip loops continuously at the proper tempo. If you change the Repeat Every X Beats value, Adobe Audition stretches the file to finish its loop in the specified number of beats. However, you’ll generally want to select Repeat Every X Beats and enter the number of beats in the Source Waveform Information area.
  • Page 212: Setting The Tempo, Time Signature, And Key For Sessions

    CHAPTER 8 Using Loops Setting the tempo, time signature, and key for sessions The Session Properties window lets you specify the tempo, time signature, and key for loops in a session. All loop-enabled clips automatically adjust to match new settings; regular clips are unaffected.
  • Page 213: Working With Loops In The Track Display

    170.) 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. ADOBE AUDITION 1.5 User Guide...
  • Page 214 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.
  • Page 215: Working With Video

    Working with Adobe Premiere Pro and After Effects If you use Adobe Premiere Pro or After Effects, you can easily remix and edit soundtracks in Adobe Audition. To do so, first configure Adobe Audition to link session files with exported audio mixdowns in WAV format.
  • Page 216: Importing Audio And Video From Video Files

    208 CHAPTER 9 Working with Video To remix or edit a mixdown in an Adobe Premiere Pro or After Effects project: In the Adobe Premiere Pro or After Effects project, select the mixdown file. Choose Edit > Edit Original. Select one of the following, and then click OK: Launch The Audition Multitrack Session Which Created This File.
  • Page 217: Working With Video Clips

    Choose Edit > Snapping > Snap To Frames. To view more thumbnails in a video clip: Horizontally magnify the session display. (See “Zooming” on page 17.) Snapping to a video frame that falls within a video thumbnail ADOBE AUDITION 1.5 User Guide...
  • Page 218: Previewing Video

    CHAPTER 9 Working with Video Previewing video In the Video window, you can preview video clips as a multitrack session plays to precisely synchronize a soundtrack with specific video events such as scene changes, title sequences, or special effects. You can customize the preview to optimize it for your monitor size and system speed.
  • Page 219: 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. Selecting the start and end points of a video mixdown ADOBE AUDITION 1.5 User Guide...
  • Page 220 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.
  • Page 221: Creating Surround Sound

    Output 6: Right surround speaker. • Adobe Audition lets you create and export 5.1 surround sound in a multichannel session by using the Multichannel Encoder dialog box. 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.
  • Page 222: Using The Multichannel Encoder

    Microsoft DirectSound multichannel format, and Microsoft DirectX 8.0 or later. (Direct X 8.0 is installed by default as part of the Adobe Audition installation; updates are available from the Microsoft Web site.) 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.
  • Page 223: Panning Tracks And Buses For Surround Sound

    To use the Multichannel Encoder: Open an existing Adobe Audition session, or create a new session in the Multitrack window. Once all your tracks are added, achieve a basic stereo mix balance with your desired track volume, stereo pan, and FX settings.
  • Page 224 CHAPTER 10 Creating Surround Sound To select a track to pan for surround sound: In the Multichannel Encoder dialog box, click the name of the track. The Track List with Track 4 selected To access a track assigned to a bus in the Track List: Close the Multichannel Encoder.
  • Page 225 ADOBE AUDITION 1.5 User Guide Lets you use the Surround Panner to position your Surround Panner, Summed To Mono sound source. However, this option always sums the track’s signal to a mono signal. In this mode, panning the sound source to any location in the sound field results in the summed mono signal being fed to all channels.
  • Page 226 CHAPTER 10 Creating Surround Sound You can also drag the Panner Point outside the sound field directly on top of one of the five main speakers or on top of the LFE speaker. Once the Panner Point is in any one of these speaker locations, the audio from the currently selected track is summed to a mono signal and sent discretely to this one speaker channel.
  • Page 227 To clear all envelope handle points and reset the track to flat envelopes, select Clear All, located below and to the right of the Pan Envelopes option. ADOBE AUDITION 1.5 User Guide...
  • Page 228: Adjusting Volume Levels

    Note: The Multichannel Encoder does not apply filtering to audio sent to the LFE channel, nor during preview, exporting, or encoding. Therefore, any low-pass filtering needed for your final LFE channel content should be applied to your audio within the Adobe Audition Multitrack, or on your exported .wav files.
  • Page 229: Zooming Into And Out Of The Waveform Display

    Places the cursor at the start of the track. 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. ADOBE AUDITION 1.5 User Guide...
  • Page 230 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 231: 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 5.1 channel configuration.
  • Page 232 CHAPTER 10 Creating Surround Sound The Multichannel Export Options dialog box Exporting a multichannel session Once you’ve completed mixing your multichannel project, you can export it to your desired file format. To export your multichannel session: Click Export at the bottom right of the Multichannel Encoder dialog box. In the Multichannel Session Name text box, enter a name for your exported files.
  • Page 233 file, although the file size is not as predictable as with Constant Bit Rate encoding Lossless compresses to a smaller file size than WAV, but results in no fidelity loss. • Creates standard Windows PCM .wav mono Exports as Windows PCM .wav format, Creates multichannel ADOBE AUDITION 1.5 User Guide...
  • Page 234 CHAPTER 10 Creating Surround Sound • Fold Down To Stereo Settings folds down the 6-channel playback to a stereo playback on a non-Windows XP system or a system without a 5.1 playback setup. Specify the attenuation parameters to control how the levels of the Center, Surround, and LFE channels get mixed down with the front stereo channels and played back on a stereo output system.
  • Page 235: Saving, Exporting, And Closing Files

    Chapter 11: Saving, Exporting, and Closing Files dobe Audition lets you save audio files and export sessions to a variety of common audio file formats. Saving audio files When working with audio files in Edit View, you can save your audio in a variety of common file formats.
  • Page 236: Saving And Exporting Sessions

    Saving sessions The most important thing to remember about session (.ses) files in Adobe Audition is that they contain no audio data themselves. Instead, a session file is a small file that points to other audio files on your hard drive. The session file keeps track of where the audio files are stored on the hard drive, each file's location and duration within the session, what...
  • Page 237 file. If you want to export only specific waves, use the Edit > Mix Down To File command instead. (See “Mixing down ReWire tracks and specific audio clips” on page 196.) ADOBE AUDITION 1.5 User Guide...
  • Page 238 If a session includes an .avi video file, you can mix down the session and make it an audio track for the video. Note: While Adobe Audition can open other types of video files to get at their audio tracks, the ability to save back the audio track works only with .avi files.
  • Page 239: Closing Files

    Choose File > Close All. Choosing an audio file format Adobe Audition lets you open and save files in the formats described in this section. In most cases, you should save uncompressed audio in Windows PCM format, and you should save compressed audio in either mp3PRO® format or Windows Media Audio format.
  • Page 240 CHAPTER 11 Saving, Exporting, and Closing Files Some formats provide options for saving audio data. Click Options in the Save As dialog box to access these options. Note: If you want to save files in a format that’s not listed here, you may be able to do so by using an ACM Waveform codec.
  • Page 241 Microsoft ACM (Audio Compression Manager) is part of all 32-bit versions of Windows. Adobe Audition supports the ACM driver, which enables you to open and save files in a variety of formats other than those directly supported by Adobe Audition.
  • Page 242 AIFF is a good choice for Windows/Mac OS cross-platform compatibility. Before you open AIFF files in Adobe Audition, add the .aif or .snd extension to the file and open it by using the Apple AIFF file filter. When you transfer an AIFF file to a Macintosh, you can add the four character code “AIFF”...
  • Page 243 As it saves a .cel file, Adobe Audition calculates how much silence will be added to the .mp3 file and writes this information into the .cel header. Then, when Adobe Audition opens a .cel file, it reads this information and automatically removes the silence from the file so...
  • Page 244 CHAPTER 11 Saving, Exporting, and Closing Files DVI/IMA ADPCM (.wav) The International Multimedia Association (IMA) flavor of ADPCM compresses 16-bit data to 4 bits/sample (4:1) by using a different (faster) method than Microsoft ADPCM. It has different distortion characteristics, which can produce either better or worse results depending on the sample being compressed.
  • Page 245 When you save a file to mp3 format, the audio is encoded and compressed according to the options you select. When you open an .mp3 file, the audio converts into the uncom- pressed internal format of Adobe Audition. As a result, you can save an .mp3 file in any format.
  • Page 246 SampleVision (.smp) The SampleVision format is native to Turtle Beach’s SampleVision program. This format supports only mono, 16-bit audio. If a file is in a different format, Adobe Audition prompts you to convert it before saving it. This format also supports loop points, which you can edit in the Cue List window. The Label of the cue must be in the format 8, and “m”...
  • Page 247 +/–1.0, and although values beyond this range are saved, clipping may occur in some programs that read them back in. (Adobe Audition won’t clip audio but will instead read the same value back if it’s beyond this range.) ADOBE AUDITION 1.5...
  • Page 248 +/–8million), but the .wav BitsPerSample is set to 24 while BlockAlign is still set to 4 bytes per channel. 16.8 float – Obsolete/Compatibility is the internal format used by Adobe Audition 1.0. • Floating point values range from +/–32768.0, but larger and smaller values are valid and aren’t clipped since the floating point exponent is saved as well.
  • Page 249 When Opening, Offset Input Data By specifies the number of bytes by which to offset • the input data. Create .DAT Header File On Save writes a header to a separate .dat file to make • reopening the file easier. ADOBE AUDITION 1.5 User Guide...
  • Page 251: Scripting And Batch Processing

    About scripting and batch processing Adobe Audition scripts let you save a series of actions such as copying data or applying an effect, so you can perform those actions again with the click of a button. Scripts are simple text files that are similar to macros;...
  • Page 252: Normalizing Groups Of Files

    files, Ctrl-click to select noncontiguous files, and drag to select a group of files. Adds silence between cue points in the current waveform. Enter Uses the name of the cue as the prefix for the filename. Specifies the folder in which you want Adobe Audition to place new...
  • Page 253 Double-click a file in this list to see more detailed statistics, including a complete RMS histogram, which shows the relative amounts of audio at each loudness level, and a clipping profile, which shows how much clipping will occur for each decibel of amplification. ADOBE AUDITION 1.5 User Guide...
  • Page 254 Statistics RMS Width RMS (Root-Mean-Square) minimum and maximum values. Applies an equal loudness contour, where the middle Determines how Adobe Audition handles out-of-band peaks. When Specifies the length of the audio selection to use for calculating the...
  • Page 255: Batch Processing Files

    Batch processing files The Batch Processing dialog box in Adobe Audition enables you to run a single script repeatedly over a group (batch) of source files. Note: For a script to run on a batch of files, you must record it in Script Works On Current Wave mode.
  • Page 256 CHAPTER 12 Scripting and Batch Processing • Click Hide Path to display the name of the file without its full path. Click Open Raw PCM As to select the desired Sample Rate, Channels, Resolution, and • other properties. Use this option only when converting Raw PCM files. Click the Run Script tab at the bottom of the Batch Processing dialog box.
  • Page 257: Working With Scripts

    ????.au bart.wav *x.wav Working with scripts Adobe Audition lets you create three types of scripts, depending on the software’s state when you record the script: Scripts that start from scratch. These scripts start with no waveform opened, and their •...
  • Page 258 Use the Scripts dialog box to create your scripts. To create a script: Set up Adobe Audition for the script you want to create. For example, open a waveform typical of the ones you’ll apply the script to, or, if you want a script that starts from scratch, close all open waveforms.
  • Page 259 To run a single script on a batch of files, use the Batch Processing command. To run a script: Set up Adobe Audition to match the starting point of the script. For example, if you want to run a script intended for a waveform, open a file and select a waveform. If you want to run a script that starts from scratch, close all open waveforms.
  • Page 260 CHAPTER 12 Scripting and Batch Processing For example, if a script was recorded with the current-time indicator at 0:10:00, selecting this option applies the script at the current cursor position, plus 10 seconds: If the current cursor position is at 0:05:00, the script would start at 0:15:00. If you’re likely to run a script at the current cursor position, record the script with the cursor at a 0:00:00 position, and select this option when you run it.
  • Page 261: Using Favorites (Edit View Only)

    The Favorites menu in Edit View lists custom commands you can create. The Favorites dialog box lets you create, edit, customize, and save these commands, which are based on your favorite Adobe Audition effects, scripts, and even third-party tools (the latter using command line executables). You can even organize favorites into hierarchical submenus for easy navigation.
  • Page 262 Enter keys), and it also accepts the Ctrl, Shift, and Alt keys (or any combination of the three) as the first in a combination of keys. Note: If the keyboard shortcut you type is already used by Adobe Audition, a dialog box appears, giving you the option to overwrite the current shortcut.
  • Page 263 The button to the right of the text box opens the Browse For Tool dialog box that lets you navigate to the desired tool. Displays instructions for adding separators and submenus to the Favorites Help tab menu. ADOBE AUDITION 1.5 User Guide...
  • Page 265: Burning Audio Cds

    Chapter 13: Burning Audio CDs dobe Audition provides an integrated CD burning utility that makes it easy to create audio CDs from audio and session files. Using CD Project View CD Project View provides an easy-to-use interface for assembling CD tracks, setting track properties, and burning CDs.
  • Page 266 Burning Audio CDs Inserting tracks Adobe Audition provides a variety of ways to insert tracks into CD Project View. Keep in mind that you’re not limited to inserting entire files—you can also insert audio ranges that are defined as track cues. For more information on creating track cues, see “Defining and selecting cues”...
  • Page 267 In CD Project View, do one of the following: • Select one or more tracks, and click Remove. Alternatively, choose Edit > Remove Selected Tracks. • To remove all tracks, click Remove All. Alternatively, choose Edit > Remove All Tracks. ADOBE AUDITION 1.5 User Guide...
  • Page 268: Editing The Source Audio For Tracks

    Enter a track title and artist for the track. Important: In order for Adobe Audition to write text to the CD, you must select Write CD- Text in the Write CD dialog box. (See “Writing a CD” on page 261.) If you want to set additional properties for the track, select Use Custom Track Properties.
  • Page 269: Writing A Cd

    Then, set CD options and write the CD. Note: Audio on CDs must be 44.1 kHz, 16 bit, stereo. If you insert a track with a different sample type, Adobe Audition automatically converts the audio for you. To set CD device properties: In CD Project View, choose Options >...
  • Page 270 CHAPTER 13 Burning Audio CDs To set CD options and write a CD: Insert a blank, writable CD into the CD burning device. In CD Project View, click Write CD or choose File > Write CD. Choose the device you want to use to write the CD. (Click Device Properties to set device properties, as described in the previous procedure.) Choose a setting from the Write Mode pop-up menu: •...
  • Page 271: Keyboard Shortcuts

    MIDI keyboard, use the Keyboard Shortcuts & MIDI Triggers command. (See “Using shortcuts” on page 12.) Note: Adobe Audition displays most default keyboard shortcuts in menu commands and tool tips. The user guide and Help list only shortcuts that Adobe Audition doesn’t display. Keys for playing audio Space...
  • Page 272: Keys For Selecting Ranges, Channels, And Tracks

    Keyboard Shortcuts Keys for selecting ranges, channels, and tracks Up Arrow Down Arrow Shift+Home Shift+End Shift+Page Up Shift+Page Down Shift+Left Arrow Shift+Right Arrow Ctrl+Shift+A Keys for copying waveforms Ctrl+Insert Shift+Insert Ctrl+M Ctrl+Shift+N Select the left channel or next higher track Select the right channel or next lower track Extend the selection to the beginning of the waveform or session Extend the selection to the end of the waveform or session...
  • Page 273: Keys For Editing Clips

    Repeat the last command (no dialog box appears) Keys for using markers Add a cue or cue range Shift+F8 Add a CD track marker Ctrl+F8 Add a CD index marker Mark Intro Time Mark Sec Tone ADOBE AUDITION 1.5 User Guide...
  • Page 274: Keys For Scrolling Waveforms And Sessions

    Keyboard Shortcuts Keys for scrolling waveforms and sessions Ctrl+Home Ctrl+End Ctrl+Page Up Ctrl+Page Down Ctrl+Left Arrow Ctrl+Right Arrow Keys for viewing windows Alt+1 Alt+Page Up Alt+Page Down Alt+/ Scroll to the beginning Scroll to the end Scroll one page to the left Scroll one page to the right Scroll to the left Scroll to the right...
  • Page 275: Digital Audio Primer

    first step in learning about digital audio. In this primer, we’ll introduce the basics of sound so you can work more effectively with Adobe Audition and the rest of your digital audio or video toolkit. Sound fundamentals Sound is created by vibrations, such as those produced by a guitar string, vocal cords, or a speaker cone.
  • Page 276: Waveforms

    Digital Audio Primer Waveforms Amplitude reflects the change in pressure from the peak of the waveform to the trough. Cycle describes the amount of time it takes a waveform to return to the same amplitude level. Frequency describes the number of cycles per second, where one Hertz (Hz) equals one cycle per second.
  • Page 277 ADOBE AUDITION 1.5 User Guide In-phase waves reinforce each other. Sometimes the peaks of one waveform match up with the troughs of another. The peaks and troughs will cancel each other out, resulting in no waveform at all. Such waveforms are said to be 180 degrees out of phase.
  • Page 278: Analog Audio

    Digital Audio Primer Two simple waves combine to create a complex wave. Analog audio A microphone works by converting the pressure waves of sound into changes in voltage on a wire. These changes in voltage match the pressure waves of the original sound: high pressure is represented by positive voltage, and low pressure is represented by negative voltage.
  • Page 279: Bit Depth

    Each additional bit doubles the number of states that can be represented, so a third bit can represent eight states, a fourth 16, and so on. ADOBE AUDITION 1.5 User Guide...
  • Page 280: Where Adobe Audition Fits Into The Process

    Higher bit depths provide greater dynamic range. Where Adobe Audition fits into the process When you record audio on your computer, Adobe Audition tells the sound card to start the recording process and specifies what sampling rate and bit depth to use. The sound card determines the supported sample rates and bit depths.
  • Page 281: Introducing Midi

    Once the sound has been transformed into digital infor- mation, Adobe Audition can record, edit, process, mix, and save your digital audio files. The possibilities for manipulation of digital audio within Adobe Audition are limited only...
  • Page 283: Appendix C Glossary

    Appendix C: Glossary (Audio Compression Manager) A Microsoft technology that enables Windows applications to compress and decompress files in a variety of formats, such as DSP Group TrueSpeech and GSM 6.10. Some ACM formats install with Windows, while others install with software applications.
  • Page 284 (for example, to identify an editing point). These cues also specify stop and start positions for the Play List. (See “Play List” on page 285.) One of four types of Adobe Audition cues. Beat cues function like basic cues, but Beat cue they specifically identify musical beats.
  • Page 285 96 dB dynamic range. Compact disc players have 16-bit resolution, but some sound cards support resolutions higher than 16-bit. Adobe Audition supports up to 32-bit resolution. For the best audio quality, remain at the 32-bit level while transforming audio in Adobe Audition, and then convert to a lower resolution for output.
  • Page 286 A list of time locations defined in an audio file. A cue can be either a point that Cue List specifies a time position or a range that specifies a selection. In Adobe Audition, you can define and save an unlimited number of cues for later recall or for assembly in the Play List window.
  • Page 287 For example, in destructive editing, a change in audio volume alters the amplitude of the original wave file. In Adobe Audition, Edit View is a destructive editing environment; however, edits do not permanently change audio until you save a file.
  • Page 288 Audio stored in DVD movies is generally 96 kHz/24-bit. A distinct repetition of a sound, caused by the sound reflecting off a surface. Adobe Echo Audition offers two echo effects, Echo and Echo Chamber.
  • Page 289 The process Adobe Audition performs when it copies the audio data from a Flushing waveform file to Adobe Audition’s temp folder so that the original file can be closed. This allows the file to be renamed, deleted, or opened exclusively by another application.
  • Page 290 Glossary Adobe Audition’s Level Meters are found by default along the bottom of the Level Meters application window, and they are used to monitor the volume of incoming and outgoing signals. The red clip indicator to the right of the meters will light up and remain lit when levels exceed the maximum of 0 dB.
  • Page 291 For example, nondestructive volume changes do not alter the amplitude of a waveform, but instead simply instruct an audio application to play the waveform at higher volume. In Adobe Audition, Multitrack View is a nondestructive editing environment. ADOBE AUDITION 1.5...
  • Page 292 (Pulse Code Modulation) PCM is the standard method used to digitally encode audio and is the basic, uncompressed data format used in file formats such as WAV and AIFF. Cache files with the extension .pk that enable Adobe Audition to open, save, and Peak files redraw audio files more quickly.
  • Page 293 An arrangement of Cue List entries that you can play in any order and loop a Play List specified number of times in nondestructive fashion. Adobe Audition saves Play Lists in the header of WAV files. A software component that you can add to another piece of software to increase Plug-in its functionality.
  • Page 294 Reverb hall. Reverb consists of dense, discrete echoes that arrive at the ear so rapidly that the ear can’t separate them. Adobe Audition offers four reverb effects: Quick Verb, Studio Reverb, Reverb, and Full Reverb. The process of digitally extracting audio from a compact disc and turning it into a waveform.
  • Page 295 Most modern sequencers are MIDI- based. (See “MIDI” on page 282.) A multitrack project in Adobe Audition. Session files are stored with the Session extension .ses and contain details such as mixing and effects settings. Session files don’t contain audio data;...
  • Page 296 Track settings for volume, pan, EQ, effects, and input and output. Each session can have up to 128 tracks. One of four types of Adobe Audition cues. Track cues indicate start points for Track cue CD tracks. The area of Multitrack View that controls each track, with independent Track controls settings for volume, pan, EQ, effects, and input and output.
  • Page 297 White noise frequencies are present. Because more individual frequencies exist in the upper ranges of human hearing, white noise sounds very hissy. Adobe Audition generates white noise by choosing random values for each sample. A point in time where a waveform crosses the zero amplitude line. To make...
  • Page 299: Index

    Add/Remove VST Directory command 33 ASPI (Advanced SCSI Adjust Boundaries command 170 attack, defined 276 Adjust Sample Rate command 111 attenuate, defined 276 Adobe Acrobat Reader 1 AU format 238 Adobe After Effects, remixing soundtracks from 207 audio Adobe Audition analyzing 118...
  • Page 300 Multitrack View 54 real-time preview 46 recording, Edit View 46 recording, Multitrack View 54 burn, defined 277 burning CDs in Adobe Audition 261 tips when using another burning program 228, 230 Bus Mixer 193 Bus Properties dialog box 193 bus, defined 277...
  • Page 301 DTMF signals, generating 106 DTS 226 and Close) command 260 DTS encoder 213 DVD, defined 280 DVI/IMA ADPCM format 236 DWD format 235 Dynamic Delay effect 147 Dynamic EQ effect 129 Dynamic Peaks option 81 ADOBE AUDITION 1.5 User Guide...
  • Page 302 Edit View 139 Effects Rack dialog box 185 Effects tab in Organizer window 26 8-bit signed format 232 empty audio clips, inserting 178 linking to Adobe Premiere Pro Enable DirectX Effects command monitoring size of 22 Enable Preroll And Postroll opening 61...
  • Page 303 Index cue limiter, defined 282 about 98 limiting 246 defined 281 Linear Energy Plot 50 input devices linking sessions to Adobe Premiere adjusting record levels 82 choosing 36 Load Meter 165 monitoring levels 80 Logarithmic Energy Plot 50 setting properties 38...
  • Page 304 INDEX MIDI defined 282 fundamentals of 273 tracks, about 185 triggering 12 MIDI devices, choosing 36 MIDI Timecode (MTC), defined MIDI Trigger, defined 282 millisecond (ms), defined 282 miniplug, defined 283 Mix Down commands 196 Mix Down To CD Project command 258 Mix Gauge 165 defined 283...
  • Page 305 Refresh Now command 165 Remove All Tracks command 259 Remove Clips command 179 Remove Selected Tracks command removing noise 125 renaming files 249 repositioning windows 14 resample, defined 286 Rescale Volume Envelopes command 188 reserve space 57 ADOBE AUDITION 1.5 User Guide...
  • Page 306 SMPTE masters or sessions 228 Set Current Clipboard command Scientific Filters effect 133 .scp files 248 setting up Adobe Audition 35 script collection (.scp) files 248 Settings command 43 Script tab, in Favorites dialog box shortcuts 12 Show View Tabs command 11...
  • Page 307 258 removing 259 selecting 259 setting properties 260 Transport Controls Fast Forward button 79 Go to Beginning button 79 Go to End button 79 Pause button 79 Play buttons 75 Record button 72, 73, 74 ADOBE AUDITION 1.5 User Guide...
  • Page 308 INDEX Rewind button 79 showing and hiding 71 Stop button 78 Trim command 95, 170 Trim Digital Silence command 102 TXT format 234 undocking windows 14 undoing edits about 22 preferences for 47 unity gain, defined 288 UPC/EAN, defined 262 upsampling quality level 53 Variable Bit Rate (VBR) 225 VBR 225...

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