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Table of Contents

   Summary of Contents for ADOBE AUDITION 3

  • Page 2 The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorpo- rated.
  • Page 3: Table Of Contents

    ..............29 Chapter 4: Setting up Adobe Audition Connecting to inputs and outputs .
  • Page 4 Chapter 7: Applying effects Shared effects controls ..............102 Applying effects in Edit View .
  • Page 5 Chapter 14: Saving and exporting Saving and exporting files ............. . . 240 Audio file formats .
  • Page 6: Chapter 1: Getting Started

    Note: For more information, see the Read Me file on the installation disc. Activate the software If you have a single-user retail license for your Adobe software, you will be asked to activate your software; this is a simple, anonymous process that you must complete within 30 days of starting the software.
  • Page 7: Resources

    Adobe publishing partners. Extras You have access to a wide variety of resources that help you make the most of your Adobe software. Some of these resources are installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content disc.
  • Page 8: Adobe Design Center

    On the installation disc, the Documentation folder contains a PDF version of Help, technical information, and other documents such as reference guides and specialized feature information. In addition to the installation disc, Adobe Audition® includes the Loopology DVD. This disc provides thousands of royalty-free loops, plus ready-made music beds and professional sample sessions.
  • Page 9: Adobe Developer Center

    Visit the Adobe Support website, at, to find troubleshooting information for your product and to learn about free and paid technical support options. Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more.
  • Page 10: New Features

    Adobe Labs fosters a collaborative software development process. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community.
  • Page 11 (See “Change interface brightness or tint” on page 29 and “Display the shortcut bar” on page 27.) Edit and master Adobe Audition 3.0 includes a full set of editing, restoration, and mastering tools that give you unprecedented flexi- bility and control. Comprehensive waveform-editing tools combined with innovative spectral frequency brushes let you edit with power and precision.
  • Page 12 ADOBE AUDITION 3.0 User Guide Quickly correct a wide range of variable broadband noise. (See “Adaptive Noise Reduction Adaptive noise reduction effect” on page 141.) Visually adjust the stereo field to enhance spatial perception. (See “Graphic Panner effect” on Graphic Panner page 165.)
  • Page 13: Chapter 2: Digital Audio Fundamentals

    Chapter 2: Digital audio fundamentals Understanding sound Sound fundamentals Sound starts with vibrations in the air, like those produced by guitar strings, vocal cords, or speaker cones. These vibrations push nearby air molecules together, raising the air pressure slightly. The air molecules under pressure then push on the air molecules surrounding them, which push on the next set of molecules, and so on.
  • Page 14 ADOBE AUDITION 3.0 User Guide 90 º 0 º 180 º 360 º 270 º A single cycle at left; a complete, 20-Hz waveform at right A. Wavelength B. Degree of phase C. Amplitude D. One second How sound waves interact When two or more sound waves meet, they add to and subtract from each other.
  • Page 15: Digitizing Audio

    ADOBE AUDITION 3.0 User Guide Digitizing audio Comparing analog and digital audio In analog and digital audio, sound is transmitted and stored very differently. Analog audio: positive and negative voltage A microphone converts the pressure waves of sound into voltage changes in a wire: high pressure becomes positive voltage, and low pressure becomes negative voltage.
  • Page 16: Bit Depth

    ADOBE AUDITION 3.0 User Guide Sample rate Quality level Frequency range 11,025 Hz Poor AM radio (low-end multimedia) 0–5,512 Hz 22,050 Hz Near FM radio (high-end multimedia) 0–11,025 Hz 32,000 Hz Better than FM radio (standard broadcast rate) 0–16,000 Hz 44,100 Hz 0–22,050 Hz...
  • Page 17 Adobe Audition stores each sample in sequence until you stop recording. When you play a file in Adobe Audition, the process happens in reverse. Adobe Audition sends a series of digital samples to the sound card. The card reconstructs the original waveform and sends it as an analog signal through Line Out ports to your speakers.
  • Page 18: Chapter 3: Workflow And Workspace

    With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio. This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows.
  • Page 19 ADOBE AUDITION 3.0 User Guide Creating a new file Edit audio In the Main panel, trim or extend a file by deleting or generating audio. To create a sonic collage, combine pasted audio from multiple files. Then, select noise or other audio you want to process with effects. (See “Selecting audio”...
  • Page 20 ADOBE AUDITION 3.0 User Guide Applying groups of effects in the Mastering Rack Save your changes Save the polished, final file to disk, or automatically insert it in CD View or a multitrack session. (See “Saving and exporting files” on page 240 and Building audio CDs.)
  • Page 21 From the File menu, choose Open Session or New Session. When you create a new session, you specify the sample rate for audio clips the session will contain. (See “Opening and adding to sessions in Multitrack View” on page 46.) To see how professional sessions are structured, open one of the sample sessions on the Adobe Audition Loopology DVD.
  • Page 22 ADOBE AUDITION 3.0 User Guide Arrange clips in the timeline In the Main panel, arrange and edit clips in the timeline. In Multitrack View, edits are impermanent for maximum flexibility. But if you want to permanently edit a clip, simply double-click it to enter Edit View. (See “Arranging clips”...
  • Page 23 ADOBE AUDITION 3.0 User Guide Route and mix tracks In the Mixer or Main panel, output audio tracks directly to the Master track for standard mixes. As you build more complex mixes, combine related tracks in buses, and use sends to output individual tracks to multiple destinations.
  • Page 24: Viewing, Zooming, And Navigating Audio

    ADOBE AUDITION 3.0 User Guide Exporting a mix to an audio file Viewing, zooming, and navigating audio Basic components of Edit, Multitrack, and CD View The workspace differs in Edit View, Multitrack View, and CD View. However, all three views have similar basic components, such as view buttons, the Main panel, and the status bar.
  • Page 25 For example, you can zoom in to see details in an audio file or multitrack session, or you can zoom out to get an overview. Adobe Audition provides several ways to zoom. You can either click buttons in the Zoom panel, or drag scroll bars and rulers.
  • Page 26 ADOBE AUDITION 3.0 User Guide Zooming methods A. Click buttons in Zoom panel B. Drag scroll bars C. Right-click and drag rulers See also “Keys for playing and zooming audio” on page 270 Zoom with the Zoom panel To display the Zoom panel, choose Window > Zoom Controls.
  • Page 27 ADOBE AUDITION 3.0 User Guide To change the placement of a horizontal scroll bar, right-click it, and choose Above Display or Below Display. This sets the position of the scroll bar for only the current view (Edit View or Multitrack View).
  • Page 28: Customizing Workspaces

    As you rearrange panels, the other panels resize automatically to fit the window. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors.
  • Page 29 ADOBE AUDITION 3.0 User Guide Docking zones Docking zones exist along the edges of a panel, group, or window. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel. Dragging panel (A) onto docking zone (B) to dock it (C) Grouping zones Grouping zones exist in the middle of a panel or group, and along the tab area of panels.
  • Page 30 When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window. You can use floating windows to make use of a secondary monitor, or to create a workspace like those in earlier versions of Adobe applications. ❖...
  • Page 31 ADOBE AUDITION 3.0 User Guide To quickly maximize a panel beneath the pointer, press the tilde (~) key. (Do not press Shift.) Press the tilde key again to return the panel to its original size. Do either of the following: •...
  • Page 32 “Basic components of Edit, Multitrack, and CD View” on page 19 Display the status bar The status bar runs across the bottom of the Adobe Audition work area. You can show or hide the status bar and select which types of information appear there.
  • Page 33 This value is shown as minutes, seconds, and thousandths of seconds. For example, if Adobe Audition is set to record 8-bit mono audio at 11,025 kHz, the time remaining might read 4399:15.527 free. Change the recording options to 16-bit stereo at 44,100 kHz, and the time remaining becomes 680:44.736 free.
  • Page 34: Managing Workspaces

    Managing workspaces Choose a workspace Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly.
  • Page 35 ADOBE AUDITION 3.0 User Guide Save a custom workspace As you customize a workspace, the application tracks your changes, storing the most recent layout. To store a specific layout more permanently, save a custom workspace. Saved custom workspaces appear in the Workspace menu, where you can return to and reset them.
  • Page 36: Chapter 4: Setting Up Adobe Audition

    About hardware inputs and outputs You can use a wide range of hardware inputs and outputs with Adobe Audition. Sound card inputs let you bring in audio from sources such as microphones, tape decks, and digital effects units. Sound card outputs let you monitor audio through sources such as speakers and headphones.
  • Page 37 For more information, consult the documentation for the sound card.) Note: By default, Adobe Audition controls the ASIO sound card while playing or monitoring audio. If you want to access the card in another application, select Release ASIO Driver In Background.
  • Page 38: Setting Adobe Audition Preferences

    When you click OK, most changes take effect immediately. If a change requires you to quit and restart Adobe Audition, you are prompted to do so. For example, you need to quit and restart Adobe Audition when you set up a different temporary folder.
  • Page 39: System Preferences

    79.) System preferences In the Preferences dialog box, click the System tab to configure how Adobe Audition interacts with your system: Determines the amount of memory that Adobe Audition reserves for processing data. Recommended Cache Size cache sizes range from 8 to 32 MB (32 MB is the default).
  • Page 40: Colors Preferences

    Deletes Adobe Audition clipboard files when you exit. In general, leave this option Delete Clipboard Files On Exit selected. Usually, after you finish with an Adobe Audition session, these clipboard files are no longer needed and just take up space.
  • Page 41: Display Preferences

    Specifies the number of vertical bands used in drawing frequencies. The larger this number, the longer Resolution it takes for Adobe Audition to render the spectral display. Performance varies according to the speed of your computer. Specifies the window width (FFT frame size) used to plot spectral data, where 100% is a full frame.
  • Page 42: Data Preferences

    Data preferences In the Preferences dialog box, click the Data tab to control how Adobe Audition handles audio data: Converts all 8-bit and 16-bit data to 32-bit when a file is opened. All Auto-Convert All Data To 32-Bit Upon Opening subsequent operations occur in the 32-bit realm.
  • Page 43: Multitrack Preferences

    Allow For Partially Processed Data After Canceling Effect 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 44 Enables smooth scrolling when playing back audio in Multitrack View. By Smooth Auto-Scrolling During Playback 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 45: Smpte/mtc Preferences

    Full Re-Sync When Shuttling External Controllers preferences 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.
  • Page 46: Managing Temporary Files

    Managing temporary files About temporary files When you edit a file, Adobe Audition copies the audio data into a temporary file for internal use. This process allows for quicker editing, better handling of large files, and the ability to undo changes.
  • Page 47 • To stop any action in progress, such as the application of an effect or any other edit, click 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 (audxxxx.tmp) in your temporary folder that you should manually delete.
  • Page 48: Chapter 5: Importing, Recording, And Playing Audio

    Determines the range of amplitude levels that can be reproduced. The 32-bit level is best while you work Resolution in Adobe Audition. You can convert down for output later, if necessary. (See “Change the bit depth of a file” on page 99.) Note: If you have an older sound card that can’t play 32-bit files properly, you can use a lower bit depth for playback,...
  • Page 49 Shift-click the last. To select multiple, nonadjacent files, Ctrl-click them.) Note: If the selected audio files have a different sample rate, resolution, or channel type than the open audio file, Adobe Audition converts the selected files to match the open file. For the best results, append files with the same sample type as the original audio file.
  • Page 50 High resolution is recommended if the bitmap image is an exported spectral graph that you modified in an image-editing application such as Adobe Photoshop. Returns all settings to the defaults, which are best for importing to a new file.
  • Page 51: Opening And Adding To Sessions In Multitrack View

    Note: All files added to a session must share the sample rate. If you attempt to import files with different sample rates, Adobe Audition prompts you to resample them, which may lower audio quality. (Optional) Select Use Default Session to use that session as a template. (See “Set or clear a default session” on page 47.)
  • Page 52 Set or clear a default session After you set a default session, it opens whenever you start Adobe Audition. This default can also serve as a template for new sessions, letting you share settings, such as track inputs and volume levels, across multiple sessions.
  • Page 53: Importing With The Files Panel

    Choose Insert > Audio, and select a BWF file. Adobe Audition inserts an audio clip at the designated start time. To view or edit the timestamp for a BWF clip, open the clip in Edit View, and then choose File > File Info. Click the Broadcast Wave tab.
  • Page 54 ADOBE AUDITION 3.0 User Guide See also “Preview audio in the Files panel” on page 49 Use files in the Files panel In the Files panel, select the files you want to work with: • To select a single file, click it.
  • Page 55: Importing With Adobe Bridge

    About importing audio from CDs If you want to import audio into Adobe Audition from a CD, you can digitally extract it or record it internally. Digital extraction (also known as ripping) is the recommended method because it produces higher-quality audio than internal recording.
  • Page 56 In the Extract Audio From CD dialog box, click Configure. In the HTTP Titles Database box, enter the domain name or IP address for your favorite CD database. Enter your e-mail address. (Adobe Audition doesn’t use this information, but many CD databases require it.)
  • Page 57 The Max (Maximum) Speed option usually produces satisfactory results, but if it produces errors, specify a slower speed. Specifies how much data Adobe Audition calls into the CD Extraction module to fetch, therefore deter- Buffer Size mining how much data is pulled from the CD in each call to the read command. The default is 16 KB, but you can experiment with other sizes (which range all the way to the highest buffer size the CD-ROM drive supports).
  • Page 58: Getting Ready For Recording And Playback

    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 Edit View in Adobe Audition, and choose Options > Metering > Monitor Record Level.
  • Page 59 Monitoring time during recording and playback Adobe Audition provides several features to help you monitor time during recording and playback: • The start-time indicator is a vertical, dotted yellow line in the Main panel. You set the start-time indicator to start playback or recording at a specific point in a waveform.
  • Page 60 ADOBE AUDITION 3.0 User Guide Adjust the playback cursor ❖ Click one of the following buttons in the Transport panel: Temporarily stops the playback cursor. Click the Pause button again to resume playback or recording. Pause Places the playback cursor at the beginning of the next marker. If there are Go To Beginning Or Previous Marker no markers, the playback cursor moves to the beginning of the waveform or session.
  • Page 61: Recording Audio

    Begins recording as soon as you click OK. Right Away Begins recording at a time you specify (for example, to have Adobe Audition capture a radio broadcast Time/Date at a certain time). Enter the starting time and date in the appropriate text boxes, and set the desired time and date options.
  • Page 62 Prior to recording in a session, you must save it so that Adobe Audition can store recorded clips in the session folder. Inside that folder, you’ll find each recorded clip in the [session name]_recorded folder. Clip file names begin with the track name, followed by the take number (for example, Track 1_003.wav).
  • Page 63 Loop while recording in Multitrack View If you loop while recording, Adobe Audition saves a new clip for each take. This feature is ideal for difficult musical passages. Simply loop while recording until the performer produces the perfect take. Or combine the best parts of each take to create a new clip.
  • Page 64 For particularly important or difficult sections, you can punch in multiple takes, and then select or edit takes to create the best performance. Adobe Audition saves two seconds of audio on either side of a punch-in range, so you can seamlessly edit and crossfade takes. (See “Display, remove, or play hidden clips” on page 195.) Note: You can't punch into a loop-enabled clip.
  • Page 65: Playing Audio

    Note: By default, the Main panel scrolls in sync with playback that extends beyond the visible section of a waveform. In the General tab of the Preferences dialog box, you can customize auto-scrolling options or disable this feature. (See “Set Adobe Audition preferences” on page 33.) See also “Transport panel overview”...
  • Page 66 ADOBE AUDITION 3.0 User Guide To start playback, click the Play Looped button. See also “View the top and tail of an audio file” on page 71 Play selections with preroll and postroll You can play selected ranges with preroll and postroll (short segments of audio immediately preceding and following the selection).
  • Page 67: Monitoring Recording And Playback Levels

    “Select time ranges” on page 72 Play audio from the command line By using the Run command in Windows, you can start Adobe Audition and begin playing a file in Edit View. Choose Edit > Preferences, and select Auto Play On External Launch. Click OK.
  • Page 68 ADOBE AUDITION 3.0 User Guide The meters show signal levels 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 so that you can easily determine peak amplitude.
  • Page 69 You may need to adjust levels if recordings are too quiet (causing unwanted noise), too loud (leading to clipped, distorted sound), or inaudible when played in Adobe Audition. To get the best sounding results, you should record audio as loud as possible without clipping. Try to keep the loudest peak somewhere between –2 dB and 0 dB when setting recording levels.
  • Page 70: Chapter 6: Editing Audio Files

    Chapter 6: Editing audio files Displaying audio in Edit View Choose an audio display In Edit View, you can choose any of four displays for audio data. Each shows you a different visual representation of sound waves. If you open a stereo file, the left channel appears at the top and the right channel appears at the bottom. If you open a mono file, its single channel fills the total height of the Main panel.
  • Page 71 ADOBE AUDITION 3.0 User Guide See also “Change the vertical scale” on page 71 “Colors preferences” on page 35 “Display preferences” on page 36 About Spectral Frequency Display Spectral Frequency Display shows a waveform by its frequency components, where the x-axis (horizontal ruler) measures time and the y-axis (vertical ruler) measures frequency.
  • Page 72 Audio that is more than 90˚ out of phase creates problems when summing to mono and may sound odd in stereo. To help you determine how much audio is out of phase, Adobe Audition displays lines at the 90˚ marks by default.
  • Page 73 ADOBE AUDITION 3.0 User Guide Spectral Phase Display, with audio moving from out-of-phase (at top and bottom) to in-phase (at center) For maximum precision, use Spectral Phase Display in conjunction with the Phase Analysis panel. (See “Analyze phase” on page 91.) For example, if you see a lot of inverse phase information in the Phase Analysis panel, you can use Spectral Phase Display to find out exactly where in time the out-of-phase audio is occurring.
  • Page 74 ADOBE AUDITION 3.0 User Guide Adjusting width of color band in Spectral Controls panel See also “About Spectral Frequency Display” on page 66 “About Spectral Pan Display” on page 66 “About Spectral Phase Display” on page 67 “Techniques for restoring audio” on page 141 Customize a spectral display In Edit View, choose View >...
  • Page 75 ADOBE AUDITION 3.0 User Guide • To add color points, right-click the color spectrum and choose Add New Color Point. To delete a color point, right-click it and choose Delete Color Point. • (Spectral Pan Display and Spectral Phase Display only) To tint the display based on the actual frequencies in the audio signal, click the Tint Using Spectral Prism button •...
  • Page 76 At the top of the Main panel, time displays show how much audio is visible for the top and tail. By default, Adobe Audition displays 10 seconds in both views. To change the default, choose Edit > Preferences, click the Display tab, and enter an Initial Viewing Range.
  • Page 77: Selecting Audio

    ADOBE AUDITION 3.0 User Guide To zoom in or out on the top and tail, do any of the following: • Click the Zoom In or Zoom Out button in the upper-left or upper-right corner of the Main panel. • Right-click and drag in the ruler below the top or tail.
  • Page 78 By default, Adobe Audition plays all audio in the same time range as a spectral selection. To hear only the selection, right-click the standard or circled Play button, and select Play Spectral Selection.
  • Page 79 • To select all of a waveform, choose Edit > Select Entire Wave, or triple-click in the Main panel. Specify which channel you want 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 80 Though you can often identify beats by looking for peaks in a waveform, the Find Beats command makes the task much quicker. After you find beats with this command, Adobe Audition saves them as Beat Markers, making it easy to locate beats again.
  • Page 81: Copying, Cutting, Pasting, And Deleting Audio

    Copying, cutting, pasting, and deleting audio Choose a clipboard Adobe Audition gives you access to five internal clipboards for temporary data storage. Each works similarly to the Windows clipboard, except that they can handle more data at a faster rate.
  • Page 82 The Mix Paste command lets you mix audio data from the clipboard or a file with the current waveform. 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.
  • Page 83: Visually Fading And Changing Amplitude

    Delete or trim 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 84 If you find the on-clip controls visually distracting, deselect On-clip UI in the View menu. Visually fade in or out Adobe Audition offers three types of visual, on-clip fades: • Linear fades produce an even volume change that works well for much material. If this fade sounds too abrupt, however, try one of the other options.
  • Page 85: Working With Markers

    In Adobe Audition, a marker can be either a point or a range. A point refers to a specific time position within a waveform (for instance, 1:08.566 from the start of the file). 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 86 Marker types Adobe Audition provides five marker types. All five can be ranges as well as points. You can change marker types by clicking Edit Marker Info in the Markers panel and choosing a marker type from the Type menu. (Alternatively, right-click the marker handle, and choose a marker type from the context menu.)
  • Page 87 ADOBE AUDITION 3.0 User Guide Markers panel Add a marker Do one of the following: • Play audio. • Place the cursor exactly where you want the marker point to be. • Select the audio data you want to define as a marker range.
  • Page 88 ADOBE AUDITION 3.0 User Guide • In the Markers panel, select the marker, and enter a new value in the Begin text box. Change the duration of a range marker • In the Main panel, drag the blue end handle to a new location.
  • Page 89 Audio Will Be Considered “Silence” When enter the amplitude value (in decibels) you want Adobe Audition to consider as the maximum level for silence. In the For More Than text box, enter the duration (in milliseconds) of this maximum amplitude value.
  • Page 90 Enter a longer duration to ignore short periods of undesired audio (like clicks, static, or other noise). However, if the value is too high (above 200 milliseconds), short words may be skipped. Scans the waveform (or a selected range) to have Adobe Audition automatically determine a good Find Levels starting point for signal levels.
  • Page 91: Creating And Deleting Silence

    Determines what Adobe Audition considers silence. In the Signal Is Below text box, enter the “Silence” Is Defined As amplitude value (in decibels) you want Adobe Audition to consider as the maximum level for silence. In the For More Than text box, enter the duration (in milliseconds) of this maximum amplitude value.
  • Page 92: Inverting And Reversing Audio

    ADOBE AUDITION 3.0 User Guide When shortening speech segments, use a setting of 150 milliseconds or so to leave a more realistic, natural sounding pause. Higher values can lead to an artificial sounding pause. Previews the silence to be removed. This option reports how much silence will be removed Scan For Silence Now and how many sections of silence were found.
  • Page 93: Generating Audio

    Specifies the length that is assigned to the pause character when it is used in the Dial String text box. Pause Time Specifies which character Adobe Audition interprets as a pause. Pause Character Generates DTMF signals by using combinations of the frequencies 697 Hz, 770 Hz, 852 Hz, 941 Hz DTMF Signals and 1209 Hz, 1336 Hz, 1477 Hz, and 1633Hz.
  • Page 94 Each color has its own characteristics.) 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 95: Generate Tones

    ADOBE AUDITION 3.0 User Guide 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. Then, copy and loop (choose Edit >...
  • Page 96: Analyzing Phase, Frequency, And Amplitude

    ADOBE AUDITION 3.0 User Guide Adds a constant DC (Direct Current) amplitude to the tone, centering the waveform by shifting it up or DC Offset down by the specified percentage. For example, you can apply DC Offset to correct an incoming signal that has suffered electrical pollution from a strong adjacent current.
  • Page 97 In Waveform Display of Edit View, click a point, select a range, or start playback. If you select a range, Adobe Audition analyzes the center point of the range. Use the following display items to interpret the phase information shown in the Phase Analysis panel: •...
  • Page 98 ADOBE AUDITION 3.0 User Guide vertical line; a completely out-of-phase stereo waveform appears as a diagonal line descending from left to right; a typical stereo waveform appears as many wavy lines descending from right to left; and a stereo waveform with wide separation appears as many wavy lines extending in all directions.
  • Page 99 In the Main panel, click a point, select a range, or start playback. If you select a range, Adobe Audition analyzes only the center point. To analyze the overall frequency of a selected range, click Scan Selection in the Frequency Analysis panel.
  • Page 100 You can generate a step-by-step animation by clicking the Main panel and then holding down the Right Arrow key. As the cursor scrolls across the across the waveform, Adobe Audition displays the corresponding spectral infor- mation in the Frequency Analysis panel.
  • Page 101 ADOBE AUDITION 3.0 User Guide Zooming and navigating a Phase Analysis graph Analyze amplitude In Edit View, you can use the Amplitude Statistics dialog box to evaluate a variety of information about audio amplitude. In Edit View, select an audio range.
  • Page 102 Specifies the number of milliseconds in each RMS window. A selected range contains a series of such Window Width windows, which Adobe Audition averages to calculate the Minimum RMS and Maximum RMS values. To achieve the most accurate RMS values, use wide windows for audio with a wide dynamic range, and narrow windows for audio with a narrow dynamic range.
  • Page 103: Converting Sample Types

    Enter a sample rate in the text box, or choose a common sample rate from the list. Click OK. Note: Although you can work with any sample rate in Adobe Audition, your sound card may not be capable of playing all rates properly. To determine supported sample rates, consult the documentation for the card.
  • Page 104 Select a bit depth from the Resolution list, or enter a custom bit depth in the text box. When you select a lower bit depth, Adobe Audition provides dithering options to help reduce noise and distortion. Set the following options as desired, and click OK: Although dithering introduces 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 105 ADOBE AUDITION 3.0 User Guide (probability distribution function) Controls how the dithered noise is distributed away from the original audio p.d.f. sample value. Usually, Triangular p.d.f. is a wise choice because it gives the best trade-off among SNR (Signal-to-Noise ratio), distortion, and noise modulation.
  • Page 106: Recovery And Undo

    Undo or redo changes Each time you start Adobe Audition, it keeps track of the edits you perform. 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 107: Chapter 7: Applying Effects

    Chapter 7: Applying effects Shared effects controls Mastering Rack and Effects Rack overview Two similar features let you apply groups of effects: the Mastering Rack in Edit View, and the Effects Rack in Multi- track View. In both racks, you can insert, edit, and reorder up to 16 effects, optimize mix levels, and store favorite presets.
  • Page 108 ADOBE AUDITION 3.0 User Guide Controls unique to the Effects Rack and Multitrack View In Multitrack View, the Effects Rack provides Safe During Write, Freeze, and Pre/Post Fader buttons that you use to automate, lock, and route effects. Each track has its own Effects Rack, which is saved with the session. (Dock the Effects Rack to quickly view and edit effect settings for multiple tracks.)
  • Page 109 To modify an existing preset, apply it, adjust settings as desired, and then save a new preset with the same name. Control effects settings with graphs Many Adobe Audition effects provide graphs where you can adjust parameters. By adding and moving control points on the graph, you can precisely tailor effect settings.
  • Page 110 ADOBE AUDITION 3.0 User Guide Moving a control point moves the related slider, and vice versa. • To move a point on a graph, drag it to a new location. (When the pointer is over a control point, the pointer changes from an arrow to a hand.)
  • Page 111: Applying Effects In Edit View

    The Effects panel lists all available audio effects for easy access. You can change the grouping of effects to best meet your needs. In addition to Adobe Audition effects, you’ll find any third-party DirectX plug-ins on your system, plus VST plug-ins in specified folders. (See “Enable VST effects” on page 110.) Effects panel ❖...
  • Page 112: Applying Effects In Multitrack View

    ADOBE AUDITION 3.0 User Guide To store settings, save a rack preset. (See “Use effect presets” on page 104.) See also “Mastering Rack and Effects Rack overview” on page 102 “About process effects” on page 104 Apply individual effects in Edit View In the Main panel, select the desired audio.
  • Page 113 ADOBE AUDITION 3.0 User Guide In Multitrack View, effects are nondestructive, so you can change them at any time. To readapt a session for different projects, for example, simply reopen it and change effects to create new sonic textures. Revealing effect slots in the Main panel To apply an effect, do one of the following: •...
  • Page 114 ADOBE AUDITION 3.0 User Guide Freeze effects and improve performance After you apply effects to a track in Multitrack View, you can freeze them to conserve processing power, improving system performance for complex mixes. When a track is frozen, you can’t edit effects, clips, or envelopes it contains.
  • Page 115: Adding Third-party Plug-ins

    To access audio plug-ins in Adobe Audition, you must either enable all of them (DirectX effects) or enable selected plug-ins (VST effects). Be aware that enabling large numbers of plug-ins can cause Adobe Audition to start slowly.
  • Page 116 Click OK, and then click Yes to open the VST Plug-in Manager. Select the plug-ins you want to access in Adobe Audition, and then click OK. To directly access the plug-in manager, choose Effects > VST Plug-in Manager. Though you can select VST instru- ments here, they are unsupported for audio processing.
  • Page 117: Chapter 8: Effects Reference

    Chapter 8: Effects reference Amplitude and compression effects Amplify effect The Amplitude And Compression > Amplify effect boosts or attenuates an audio signal. Because the effect is VST-based, you can combine it with other effects in the Mastering Rack or Effects Rack. See also “Applying effects in Edit View”...
  • Page 118 ADOBE AUDITION 3.0 User Guide Causes the waveform’s sample values to be faded in an even, linear fashion, producing a Linear Fades (Fade tab) smooth slope from beginning to end. Applies a logarithmic-style fade (also known as a power fade). If you select this option,...
  • Page 119 ADOBE AUDITION 3.0 User Guide Dynamics Processing graph (Classic SoftKnee preset) See also “Applying effects in Edit View” on page 106 “Applying effects in Multitrack View” on page 107 “Control effects settings with graphs” on page 104 “Use effect presets” on page 104 “Add preroll and postroll to effects previews”...
  • Page 120 ADOBE AUDITION 3.0 User Guide Traditional options Click Traditional to specify ratios and thresholds. You can choose Compress, Flat, or Expand for up to six sections or stages, each with its own ratio and threshold setting. For example, to create a 3:1 compressor above -20 dB, choose Compress, and then specify a 3:1 ratio and a threshold of -20 dB.
  • Page 121 ADOBE AUDITION 3.0 User Guide Helps to handle sharp spikes that might occur at the onset of a louder signal and go beyond the Lookahead Time limits of the compressor settings. While this approach may be desirable to enhance the impact of drum hits, for example, it isn’t desirable if you use limiting to reduce the maximum amplitude of audio.
  • Page 122 0%. The default value of 100% means no change in volume occurs. Use the Envelope effect to make tones generated with Adobe Audition sound more realistic. Hard Limiting VST effect Like the similar process effect, the Amplitude And Compression >...
  • Page 123 ADOBE AUDITION 3.0 User Guide Hard Limiting process effect (Edit View only) The Amplitude And Compression > Hard Limiting effect process drastically attenuates audio that rises above a defined threshold, leaving audio below the threshold unaffected. This effect is particularly useful for increasing perceived volume because you can amplify audio beyond the digital maximum, 0 dbFS, and you can lower areas that would otherwise be clipped.
  • Page 124 ADOBE AUDITION 3.0 User Guide Adjusting a crossover frequency in the Multiband Compressor A. Frequency bands B. Crossover markers C. Bypassed band (no processing applied) D. Amplitude scale E. Frequency scale See also “Mastering effect” on page 161 “Applying effects in Edit View” on page 106 “Applying effects in Multitrack View”...
  • Page 125 ADOBE AUDITION 3.0 User Guide Set the input level at which compression begins. Possible values range from -60 to 0 dB. The best Threshold sliders setting depends on audio content and musical style. To compress only extreme peaks and retain more dynamic range, try thresholds around 5 dB below the peak input level;...
  • Page 126 ADOBE AUDITION 3.0 User Guide To apply RMS normalization, you must use the Group Waveform Normalize command. If desired, you can apply that command to only one file. (See “Normalize a group of files” on page 258.) See also “About process effects” on page 104 “Apply individual effects in Edit View”...
  • Page 127: Delay And Echo Effects

    When reverb or chorus might muddy the mix, both delays and echoes are a great way to add ambience to a track. To access familiar options from hardware delays, use the Echo effect in Adobe Audition. See also “About reverb”...
  • Page 128 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 Chorus or Flanger effects in Adobe Audition, because the delay settings don’t change over time.)
  • Page 129 ADOBE AUDITION 3.0 User Guide “Control effects settings with graphs” on page 104 “Use effect presets” on page 104 Dynamic Delay options Mixes in the desired amounts of original and delayed audio. Original and Delayed Inverts the delayed signal, causing the waves to cancel out periodically, instead of reinforcing the signal.
  • Page 130 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.
  • Page 131 The distance between the source and the walls affects which frequencies are enhanced and is crucial to the overall ambient effect. If you enter a value that exceeds the dimensions of the room, Adobe Audition uses the greatest possible value based on the dimensions.
  • Page 132 Delay • Adjusts the point in the delay line from which Adobe Audition takes the audio. It is then mixed into Delay Offset an earlier point in the delay line, which causes echoing. Keep in mind that it’s the relative positions of the offsets of the delay units that make a difference, not their absolute position.
  • Page 133: Filter And Equalizer Effects

    ADOBE AUDITION 3.0 User Guide When designing a reverb, cut some of the high frequencies to simulate their absorption by surrounding walls. In addition, when echoing, frequencies generally aren’t boosted. However, you can create interesting effects by entering positive values. Boosting a Low Cut Filter while reducing the feedback setting is identical to reducing a High Cut Filter and increasing the feedback setting.
  • Page 134 ADOBE AUDITION 3.0 User Guide Dynamic EQ options Sets the EQ frequency. The horizontal ruler (x-axis) represents the length of the selection, while Frequency graph the vertical ruler (y-axis) represents the frequency that’s boosted or cut. Adjusts the amount of amplitude or attenuation the Dynamic EQ effect uses. The horizontal ruler Gain graph (x-axis) represents the length of the selection, while the vertical ruler (y-axis) represents the dB level that’s boosted...
  • Page 135 ADOBE AUDITION 3.0 User Guide See also “About process effects” on page 104 “Apply individual effects in Edit View” on page 107 “Control effects settings with graphs” on page 104 “Use effect presets” on page 104 “Add preroll and postroll to effects previews” on page 107...
  • Page 136 ADOBE AUDITION 3.0 User Guide Determines how accurately you want to filter over time when separate initial and final settings are Precision Factor used. A larger number (low factor) causes the filter settings to change roughly (or in chunks) from initial to final, while smaller numbers (higher factor) make the transition much smoother.
  • Page 137 ADOBE AUDITION 3.0 User Guide If you equalize extremely low frequencies, set Accuracy to between 500 and 5000 points. Compensates for an overall volume level that is too soft or too loud after the EQ settings are adjusted. Master Gain The default value of 0 dB represents no master gain adjustment.
  • Page 138 ADOBE AUDITION 3.0 User Guide Parametric EQ graph (Old Time Radio preset) See also “Applying effects in Edit View” on page 106 “Applying effects in Multitrack View” on page 107 “Use effect presets” on page 104 “Add preroll and postroll to effects previews” on page 107...
  • Page 139 ADOBE AUDITION 3.0 User Guide Determines affected high frequencies and their amplitude. Set the cutoff frequency with High Shelf Cutoff and Level the second slider below the graph, and increase or decrease treble with the slider at the right of the graph. Use the High Shelf Cutoff to reduce hiss, amplifier noise, and the like.
  • Page 140 ADOBE AUDITION 3.0 User Guide If this option is selected, the entire selected range is equalized at the settings shown. If this option is deselected, you can specify separate initial and final equalization settings, so that the selection can smoothly glide from the initial equalization setting to the final setting over the selected range. Click the Initial Settings and Final Settings tabs to specify initial and final settings.
  • Page 141 ADOBE AUDITION 3.0 User Guide See also “About process effects” on page 104 “Apply individual effects in Edit View” on page 107 “Use effect presets” on page 104 “Add preroll and postroll to effects previews” on page 107 Scientific Filters options Provides accurate phase response with no ringing or overshoot.
  • Page 142: Modulation Effects

    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, making each voice (or layer) sound distinct from the original by slightly varying timing, intonation, and vibrato. The Feedback setting lets you add extra detail to the result.
  • Page 143 ADOBE AUDITION 3.0 User Guide • Gives an added delay to each voice, separating them in time by as much as 200 milliseconds (1/5th of a Spread second). High values cause the separate voices to start at different times—the higher the value, the farther apart the onset of each voice may be.
  • Page 144: Flanger Effect

    ADOBE AUDITION 3.0 User Guide Flanger effect Flanging is an audio effect caused by mixing a varying, short delay in roughly equal proportion to the original signal. It was originally achieved by sending an identical audio signal to two reel-to-reel tape recorders, and then pressing the flange of one reel to slow it down.
  • Page 145 ADOBE AUDITION 3.0 User Guide Sweeping Phaser effect Similar to flanging, phasing introduces a variable phase-shift to a split signal and recombines it, creating psychedelic effects first popularized by guitarists of the 1960s. The Modulation > Sweeping Phaser effect sweeps a notch- or boost-type filter back and forth across a center frequency.
  • Page 146: Restoration Effects

    ADOBE AUDITION 3.0 User Guide Restoration effects Techniques for restoring audio You can fix a wide array of audio problems by combining two powerful features. First, use Spectral Frequency Display to visually identify and select ranges of noise or individual artifacts. (See “Select spectral ranges” on page 73 and “Select artifacts and repair them automatically”...
  • Page 147 ADOBE AUDITION 3.0 User Guide “Use effect presets” on page 104 “Add preroll and postroll to effects previews” on page 107 Adaptive Noise Reduction options Determines the level of noise reduction. Values between 6 and 30 dB work well. To reduce bubbly Reduce Noise By background effects, enter lower values.
  • Page 148: Use Effect Presets

    ADOBE AUDITION 3.0 User Guide See also “Applying effects in Edit View” on page 106 “Applying effects in Multitrack View” on page 107 “Use effect presets” on page 104 “Add preroll and postroll to effects previews” on page 107 Automatic Phase Correction options...
  • Page 149: Use Effect Presets

    Detection graph ruler (x-axis) and threshold level along the vertical ruler (y-axis). Adobe Audition uses values on the curve to the right (above -20 dB or so) when processing louder audio and values on the left when processing softer audio. Curves are color-coded to indicate detection and rejection.
  • Page 150 ADOBE AUDITION 3.0 User Guide After you audition a small piece of repaired audio, you can adjust the settings as needed. For example, if a quiet part still has a lot of clicks, lower the Min Threshold level a bit. If a loud piece still has clicks, lower the Avg or Max Threshold level.
  • Page 151 A higher detection threshold might lead to fewer repairs and increase the quality while still removing all clicks. Determines the FFT size used to repair clicks, pops, and crackle. In general, select Auto to let Adobe FFT Size Audition determine the FFT size.
  • Page 152 FFT Size option in other situations might help with some types of clipping. (Try a setting of 40 for normal clipped audio.) In general, however, leave FFT Size unselected. If FFT Size is unselected, Adobe Audition uses spline curve estimation.
  • Page 153: Add Preroll And Postroll To Effects Previews

    ADOBE AUDITION 3.0 User Guide To reduce other types of noise that have a wide frequency range, try the Noise Reduction effect. (See “Noise Reduction effect (Edit View only)” on page 149.) Using the Hiss Reduction graph to adjust the noise floor See also “About process effects”...
  • Page 154 ADOBE AUDITION 3.0 User Guide For quick, general-purpose hiss reduction, a complete noise floor graph isn’t always necessary. In many cases, you can simply reset the graph to an even level and manipulate the Noise Floor Adjust slider. Fine-tunes the noise floor until the appropriate amount of hiss reduction and quality level is Noise Floor Adjust achieved.
  • Page 155 Noise Profile graph Adjust the graph by moving the Noise Reduction Level slider. Extracts a noise profile from a selected range, indicating only background noise. Adobe Audition Capture Profile gathers statistical information about the background noise so it can remove it from the remainder of the waveform.
  • Page 156 100 will likely cut out more noise, but also cut out more original signal. However, a low noise reduction level with more samples will also cut out more noise, but likely will not disrupt the intended signal. Opens any noise profile previously saved from Adobe Audition in FFT format. However, you can Load From File apply noise profiles only to identical sample types.
  • Page 157: Reverb Effects

    This reflected sound is called reverberation, or reverb for short. With Adobe Audition, you can use reverb effects to simulate a variety of room environments.
  • Page 158 ADOBE AUDITION 3.0 User Guide Convolution Reverb effect The Reverb > Convolution Reverb effect reproduces rooms ranging from coat closets to concert halls. Convolution- based reverbs use impulse files to simulate acoustic spaces. The results are incredibly realistic and life-like.
  • Page 159 ADOBE AUDITION 3.0 User Guide See also “Applying effects in Edit View” on page 106 “Applying effects in Multitrack View” on page 107 “Use effect presets” on page 104 “Add preroll and postroll to effects previews” on page 107 “Control effects settings with graphs” on page 104...
  • Page 160 ADOBE AUDITION 3.0 User Guide Sets an appropriate decay length and pre-delay time to match the specified room Set Reverb Based On Room Size size and produce a more convincing reverb. If desired, you can then fine-tune the decay length and pre-delay.
  • Page 161 ADOBE AUDITION 3.0 User Guide Reverb effect The Reverb > Reverb effect simulates acoustic spaces with convolution-based processing. It produces both early reflections and irregular echoes that are so closely spaced that they’re perceived as a single decaying sound. The Reverb effect can create a wide range of high-quality results. It can reproduce acoustic or ambient environments such as a coat closet, a tiled bathroom shower, a concert hall, or a grand amphitheater.
  • Page 162 ADOBE AUDITION 3.0 User Guide Sets the percentage of source audio to leave in the effect. In general, the more reverb you add, the lower the volume of the original signal. In most cases, 90% works well. To add spaciousness to an instrument, keep the dry signal higher, or at 100%. If you're trying to achieve a special effect with reverb, you might want to reduce the volume of the original signal.
  • Page 163: Special Effects

    “Apply individual effects in Edit View” on page 107 Convolution options Opens a previously saved impulse (such as the ones that come with Adobe Audition). The sample rate of an Load impulse affects the outcome of convolution. For example, if an impulse is created at 44100 Hz, and it is later reopened and used on a 22050 Hz file, everything is stretched out 2:1.
  • Page 164: Distortion Effect

    FIR Size Note: Adobe Audition recommends a minimum delay (listed below FIR Size) when you add this echo. If you use a smaller delay than suggested, the echo may contain more frequencies than you want. You can ignore this delay for full spectrum echoes, as they are just single sample ticks in the impulse.
  • Page 165 ADOBE AUDITION 3.0 User Guide See also “Applying effects in Edit View” on page 106 “Applying effects in Multitrack View” on page 107 “Control effects settings with graphs” on page 104 Distortion options Changes the buttons in the dialog box from (Symmetric)/(Symmetric) to Positive/Negative.
  • Page 166 Mastering describes the complete process of optimizing audio files for a particular medium, such as radio, video, CD, or the web. In Adobe Audition, you can quickly master audio with the Special > Mastering effect. Before mastering audio, consider the requirements of the destination medium. If the destination is the web, for example, the file will likely be played over computer speakers that poorly reproduce bass sounds.
  • Page 167: Stereo Imagery Effects

    Changing stereo imagery Adobe Audition provides several effects that let you change the apparent location, or stereo imagery, of sounds coming from the speakers. For example, you can move a sound from the center to the left or right speaker, or even make sounds seem to circle a listener’s head.
  • Page 168 ADOBE AUDITION 3.0 User Guide Center Channel Extractor effect The Stereo Imagery > Center Channel Extractor effect keeps or removes frequencies that are common to both the left and right channels—in other words, sounds that are panned center. Often voice, bass, and lead instruments are recorded this way.
  • Page 169 ADOBE AUDITION 3.0 User Guide Defines the number of FFT windows that overlap. Higher values can produce smoother results or a Overlays chorus-like effect, but they take longer to process. Lower values can produce bubbly-sounding background noises. Values of 3 to 9 work well.
  • Page 170 User Guide Doppler Shifter options Note: Unlike many graphs in Adobe Audition effects, the Doppler Shifter graph is noninteractive: You can’t directly manipulate the graph. Instead, the graph changes as you adjust the effect’s parameters. Defines which path the sound source appears to take. Depending on the path type, a different set of Path Type options is available.
  • Page 171 ADOBE AUDITION 3.0 User Guide Determines how frequencies are arranged in the horizontal ruler. A Linear scale provides equal Frequency Scale weight to each frequency; a Logarithmic scale provides more low-frequency detail, better reflecting the emphasis of human hearing. Analyzes selected or played audio, and creates a graph curve that compensates for current Auto Center Pan or Phase panning or phase position, placing each frequency in the center of the stereo field.
  • Page 172 ADOBE AUDITION 3.0 User Guide Shows the expand level over time and amplifies (>100%) or removes (<100%) the differences Stereo Expand graph between channels. The graph’s x-axis (horizontal) represents the length of the waveform or selection, while the y-axis (vertical) represents the percentage of stereo expansion. With some material, you can create a stereo expanding effect by increasing the differences between the left and right channels.
  • Page 173 ADOBE AUDITION 3.0 User Guide When specifying Rotation and Range settings, keep the following in mind: • If you rotate the stereo field 180˚, both the left and right channels are 180˚ out of phase, inverting the entire waveform. • At 90˚ right, only the right channel is inverted; at 90˚ left, only the left channel is inverted.
  • Page 174: Time And Pitch Manipulation Effects

    ADOBE AUDITION 3.0 User Guide Time and pitch manipulation effects Pitch Bender effect (Edit View only) The Time And Pitch > Pitch Bender effect varies the pitch of audio over time. Use the graph to draw a tempo and create smooth tempo changes or other effects, like a vinyl record speeding up or slowing down.
  • Page 175 Chromatic scale includes all 12 tones and isn’t key-specific). Typically, the key is the same as the one intended for the source audio. Governs how quickly Adobe Audition corrects the pitch toward the scale tone. Faster settings are usually best Attack for audio made up of short notes, such as a fast passage played by a trumpet.
  • Page 176 ADOBE AUDITION 3.0 User Guide Sets the FFT (Fast Fourier Transform) size, or the size of the pieces of data that the effect processes. In FFT Size general, use smaller values for correcting higher frequencies. For voices, a setting of 2048 or 4096 sounds most natural, and a setting of 1024 creates robotic effects.
  • Page 177 ADOBE AUDITION 3.0 User Guide Pitch Shifter options Contains options that adjust pitch: Pitch Transpose • Transposes pitch in semi-tone increments, which equal musical half-notes (for example, the note C# Semi-Tones is one semi-tone higher than C). A setting of 0 reflects the original pitch; +12 semi-tones is an octave higher; -12 semi-tones is an octave lower.
  • Page 178 ADOBE AUDITION 3.0 User Guide Specifies the ratio (in percentage) and final length (in time) for the stretch. Specifying a value for one Ratio, Length automatically changes the other. If the initial and final lengths are different, then the actual final length will be exactly (initial+final)/2 when in Preserve Pitch mode.
  • Page 179: Multitrack Effects

    ADOBE AUDITION 3.0 User Guide produces a chorus effect, lower the Overlapping percentage. Doing so, however, can produce a choppy sound. Simply adjust Overlapping to strike a balance between choppiness and chorusing. Overlapping can be as high as 400%, but you should use this value only for very high speed increases (200% or more).
  • Page 180 ADOBE AUDITION 3.0 User Guide Provides the following options: Gain Processor • Specifies the amount of gain (measured in decibels) added to the output signal. Output Gain • Determines how long the processed output signal takes to reach the specified output volume. For...
  • Page 181 ADOBE AUDITION 3.0 User Guide Depicts input levels along the horizontal ruler (x-axis) and the new output level along the vertical ruler Graph (y-axis). An unedited signal is depicted as a straight line from the lower left to the upper right of the graph, since every input value goes to the matching output value.
  • Page 182 ADOBE AUDITION 3.0 User Guide Vocoder effect (Multitrack View only) The Multitrack > Vocoder effect simulates a hardware vocoder. A vocoder takes two inputs, usually an instrument and a voice, and modulates one signal (the process signal, usually the instrument) with the other (the control signal, usually the voice).
  • Page 183 ADOBE AUDITION 3.0 User Guide Sets the amount of vocoded signal that ends up in the resulting waveform. For example, set this value Affect Level to 100% for full vocoding, 50% to keep more of the original waveform, and 15% to produce a subliminal effect that barely affects the process wave with the voice.
  • Page 184: Chapter 9: Mixing Multitrack Sessions

    Adobe Audition saves information about source files and mix settings 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 185 Scroll to the same tracks in the Main panel and Mixer By default, Adobe Audition scrolls to different tracks in the Main panel and Mixer, maintaining unique positions in each. To automatically scroll to the same tracks, link the Main panel and Mixer.
  • Page 186 ADOBE AUDITION 3.0 User Guide Select ranges in Multitrack View To select ranges in Multitrack View, you use either the Time Selection tool or the Hybrid tool . Both tools let you select ranges and clips, but the Hybrid tool also lets you move clips. If you prefer to select ranges and move clips with separate tools, use the Time Selection and Move/Copy Clip tools.
  • Page 187: Basic Track Controls

    If you regularly create sessions with a specific track structure, use the Add Tracks command to instantly add multiple tracks of various types. Or, individually insert new tracks to precisely place them. Note: A multitrack session supports only one video track, which Adobe Audition always inserts at the top of the Main panel.
  • Page 188 ADOBE AUDITION 3.0 User Guide Name or move tracks You can name tracks to better identify them, or move them to display related tracks together. • In the Main panel or Mixer, type in the name text box. Name text box in the Main panel •...
  • Page 189 ADOBE AUDITION 3.0 User Guide Set track output volume ❖ Do any of the following: • In the Main panel, drag the Volume knob . Hold down Shift to change settings in 10-unit increments. Hold down Ctrl to change settings in fractional increments of one-tenth.
  • Page 190: Track Routing And Eq Controls

    ADOBE AUDITION 3.0 User Guide See also “Mute and solo tracks” on page 184 “Applying effects in Multitrack View” on page 107 “Automating mixes” on page 203 Track routing and EQ controls Show or hide track routing and EQ controls Although the wide variety of routing and EQ controls may seem intimidating at first, the controls for each track are identical, so once you’ve learned one, you’ve learned them all.
  • Page 191 ADOBE AUDITION 3.0 User Guide Assign audio inputs and outputs to tracks ❖ In the Inputs/Outputs area of the Main panel or Mixer, do the following: • From the Input menu, choose a hardware input. • From the Output menu, choose a bus, the Master track, or a hardware output.
  • Page 192 ADOBE AUDITION 3.0 User Guide An example of audio routing for tracks A. Vocal B. Reverb bus receiving vocal and guitar sends C. Guitar D. Drums bus combining drum outputs E. Bass outputting direct to hardware F. Master track G. Hardware outputs Understanding bus tracks With bus tracks, you can combine the outputs of several audio tracks or sends and control them collectively.
  • Page 193 ADOBE AUDITION 3.0 User Guide Sending tracks to multiple buses A. Send 1 outputs to delay bus B. Send 2 outputs to reverb bus C. Master track combines vocal, guitar, delay, and reverb outputs Understanding the Master track A session always contains one Master track, so you can easily combine the outputs of multiple tracks and buses and control them with a single fader.
  • Page 194 ADOBE AUDITION 3.0 User Guide Pre- and post-fader effect and send routing for each track A. Input gain B. EQ C. Track volume D. Track mute E. Send F. Effects Rack In the Sends area of the Main panel or Mixer, click the Send Power button...
  • Page 195 ADOBE AUDITION 3.0 User Guide Equalizing tracks For each track, Multitrack View provides a three-band parametric equalizer that you can access in the Main, Mixer, or Track EQ panel. The Main and Mixer panels provide quick access to commonly used settings; the Track EQ panel provides more precise and sophisticated controls.
  • Page 196: Arranging Clips

    ADOBE AUDITION 3.0 User Guide Shows the track’s current equalization curve. The x-axis represents frequency, while the y-axis represents Graph amplitude. You can drag the three control points around the graph to adjust the EQ curve. As you do, the sliders move to reflect your changes.
  • Page 197: Grouping Clips

    ADOBE AUDITION 3.0 User Guide Select and move clips ❖ Do any of the following: • To select an individual clip, click the clip in the Main panel. • To select all clips in a track, select the track, and then choose Edit > Select All Clips In Track [number].
  • Page 198 ADOBE AUDITION 3.0 User Guide See also “Trimming and extending clips” on page 195 “Fade or crossfade clips in a track” on page 197 Group clips Hold down the Ctrl key, and click each clip you want in the group.
  • Page 199 ADOBE AUDITION 3.0 User Guide Unique copies have a separate audio file on disk, allowing for separate editing of each version in Edit View. (For example, you can add destructive effects to the version in an introduction while leaving the version in a verse dry.) To quickly copy a reference, press Ctrl+C.
  • Page 200: Editing Clips

    Display, remove, or play hidden clips If clips overlap, you can display, remove, or play hidden clips. (By default, Adobe Audition plays only displayed clips.) • To display individual hidden clips, select the overlapping clip, and choose Clip > Bring To Front > [clip name].
  • Page 201 ADOBE AUDITION 3.0 User Guide • To adjust clip edges to the range, choose Clip > Adjust Boundaries. (To reveal more of a previously edited clip, extend the range beyond the current clip edges.) Using the Adjust Boundaries command to reveal more of a previously edited clip Trim or extend clips by dragging Choose View >...
  • Page 202 ADOBE AUDITION 3.0 User Guide Splitting and rejoining clips The Split command functions like a traditional tape splice; it cuts audio clips into parts. When a clip is split, each part becomes a new clip that can be independently moved or deleted. Splitting is nondestructive, so you can rejoin split clips with the Merge/Rejoin Split command.
  • Page 203 ADOBE AUDITION 3.0 User Guide On-clip controls A. Drag controls in clip corners to fade in and out B. Overlap clips to crossfade See also “Select and move clips” on page 192 “Select ranges in Multitrack View” on page 181 Fade a clip in or out ❖...
  • Page 204 ADOBE AUDITION 3.0 User Guide Enables you to adjust fade curves. Disable this option if you’re inadvertently Allow Vertical Fade Adjustments adjusting these curves when attempting to perform other tasks, such as editing volume or pan envelopes. Crossfades overlapping clips. Deselect this option if automatic crossfades are undesirable Automatically Crossfade or interfere with other tasks, such as trimming clips.
  • Page 205 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 can specify which method of time stretching to use.
  • Page 206 In the timeline, right-click a bus, master, MIDI, or ReWire track, choose Bounce [track type] To Track, and then choose Stereo or Mono. Adobe Audition creates a new track with a clip that reflects the bus, master, MIDI, or ReWire mix.
  • Page 207 • To move the clip to a specific timeline position, enter a start time in the Time Offset text box. • 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.)
  • Page 208: Automating Mixes

    Adobe Audition provides several techniques for automating mixes. You may find that one method bests suits your working style and audio content. Typically, however, you’ll probably use a combination of these techniques: •...
  • Page 209 You can also rescale all volume envelopes in a session. (See “Mixing properties for sessions” on page 210.) Automating track settings With track envelopes, you can change volume, pan, and effect settings over time. Adobe Audition displays track envelopes in automation lanes below each track. Each automated parameter has its own automation lane and envelope, which you edit just like clip envelopes.
  • Page 210 While playing a session, you can record adjustments you make to track volume, pan, and effect settings, creating a mix that dynamically evolves over time. Adobe Audition automatically converts your adjustments into track envelopes, which you can edit with precision.
  • Page 211 ADOBE AUDITION 3.0 User Guide Track Automation Mode menu Ignores track envelopes during playback and mixdown, but continues to display envelopes so you can manually add or adjust edit points. Applies track envelopes during playback and mixdown, but doesn’t record any changes you make to them.
  • Page 212 ADOBE AUDITION 3.0 User Guide Safe During Write buttons in the Effects Rack and Main panel: A. Individual effect B. Entire rack C. Individual parameter Edit automation envelopes After you create clip or track envelopes, you can fine-tune them by dragging edit points while a session is playing or stopped.
  • Page 213: Synchronizing Sessions With Rewire And Smpte

    Adobe Audition serves as the exclusive ReWire host until you close the application or manually disable ReWire. If you notice a timeline offset between Adobe Audition and the slave application, lower the buffer size for your sound card (choose Edit > Audio Hardware Setup, click the Multitrack View tab, and click Control Panel). Because...
  • Page 214 Choose Options > SMPTE Start Offset, click Format, and select the desired SMPTE time format. Enter the desired start point in the SMPTE Start Time Offset box, and then click OK. (This option defines Adobe Audition’s start point; it doesn’t offset incoming timecode.)
  • Page 215: Setting Advanced Session Properties

    General properties for sessions In the General tab of the Advanced Session Properties dialog box, you can set the following options: Specifies a time offset, which is the time location at which Adobe Audition will begin SMPTE Start Time Offset playback.
  • Page 216 • Cursor At shows the current position of the cursor in bars-and-beats format. You can also enter a new cursor position here and Adobe Audition will recalibrate the session, including negative time. This lets you line up the metronome with an existing song that you’re adding more to.
  • Page 217 ADOBE AUDITION 3.0 User Guide metronome sound effects won’t be recorded—unless, of course, you use a microphone and the computer’s speakers are on.) Determines the type of metronome sound. Sound Set Sets the sound card port for the metronome. Ouput To Sets metronome volume.
  • Page 218: Chapter 10: Composing With Midi

    Chapter 10: Composing with MIDI MIDI sequencing basics Understanding MIDI data and VST instruments Digital audio and MIDI are fundamentally different: Digital audio represents a sound wave; MIDI provides instruc- tions for musical instruments. Like a tape recorder, a digital audio file tries to exactly reflect an audio event, whether it's a musical performance, a person talking, or any other sound.
  • Page 219 Do either of the following: • Choose Insert > MIDI Track to insert an empty track. • Choose Insert > MIDI to insert a MIDI file. Adobe Audition automatically creates a MIDI track and imports the file into the Sequencer.
  • Page 220: Importing, Recording, And Outputting Midi

    ADOBE AUDITION 3.0 User Guide Use sequencer presets Sequencer presets store settings for multiple tracks, providing a quick way to load an entire rack of instruments, assign MIDI inputs and outputs, and set volume and pan. A set of default presets gets you started; add your own to include third-party VSTi’s or automatically connect to your MIDI hardware.
  • Page 221 ADOBE AUDITION 3.0 User Guide Record with the virtual keyboard If a hardware controller is unavailable, you can monitor VSTi’s and record MIDI data with the virtual keyboard. In the upper-right corner of the Sequencer, click the Virtual Keyboard button.
  • Page 222: Displaying And Editing Midi

    ADOBE AUDITION 3.0 User Guide Monitor or stop all MIDI activity In the lower-left of the Sequencer, do either of the following: • To confirm that a MIDI port is receiving or sending data, look for a red light in the MIDI In Activity or MIDI Out Activity indicator •...
  • Page 223 ADOBE AUDITION 3.0 User Guide • Click the Triplet button to divide each beat into three subdivisions. This option is particularly useful for music with swing and shuffle rhythms, like jazz and blues. • Click the Dotted button to mark every 1.5 beats. This option is particularly helpful for music with an odd number of beats per bar.
  • Page 224 ADOBE AUDITION 3.0 User Guide The initial length of newly-entered notes is defined by the Note Value setting in the Grid options. (See “Determine musical timing with the MIDI grid” on page 217.) Trim or extend notes Click the Select tool or the Draw tool In the grid, position the pointer over the left or right edge of a note.
  • Page 225 ADOBE AUDITION 3.0 User Guide See also “Edit MIDI notes” on page 218 “Prevent changes to MIDI data” on page 220 Edit velocity data In the track controls, click the Velocity button In the grid, drag the top of velocity lines up or down. (Ctrl-click to select multiple lines and adjust them simulta- neously.)
  • Page 226: Chapter 11: Loops

    You can hear loop-based compositions in nearly all musical styles. From best-selling pop, rap, and hip hop, to alter- native, adult-contemporary, and jazz, you’ll find loops used for everything from basic rhythm tracks to entire compositions. With Adobe Audition, you can either create your own loops or choose from thousands supplied on the Adobe Audition Loopology DVD.
  • Page 227 Repeat Every X Seconds and Repeat Every X Beats are entered automat- ically so the clip loops continuously 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 228 ADOBE AUDITION 3.0 User Guide Plays the loop at the session’s tempo instead of its native tempo. For example, if you play a 100 Follow Session Tempo bpm loop in a 120 bpm session, the loop is stretched to 120 bpm. If you deselect this option, the loop plays at the tempo specified in the BPM text box.
  • Page 229: Creating Loops In Edit View

    ADOBE AUDITION 3.0 User Guide Creating loops in Edit View Select a range for a loop To create a good loop from an existing file, you first need to select a range that repeats precisely on a beat. Repeating on a beat lets you combine a loop in rhythm with other loops.
  • Page 230 2 and 3 in 4/4 time. Set original loop properties For either new or existing loop files, you can set loop properties such as tempo and key. Adobe Audition uses these original properties to accurately adjust loops for different session tempos and keys.
  • Page 231 Adobe Audition can stretch it to whatever tempo you want. Specifies the loop’s original key so Adobe Audition can adjust it to match each session’s key. For a drum track, choose Non-Voiced—unless you want to pitch-shift drums when you change session key.
  • Page 232: Chapter 12: Working With Video

    Edit audio clips from After Effects In Adobe After Effects®, choose Edit > Edit In Adobe Audition to open audio clips in Edit View, where you can quickly restore and enhance them. When you save your changes, the updated audio automatically appears in your video projects.
  • Page 233: Importing Video And Working With Video Clips

    For AVI files exported from Adobe Premiere Pro, sequence markers appear as dashed lines. You can move a video clip independently from the audio clip containing the original soundtrack. To instead keep such clips synchronized, group them.
  • Page 234: Previewing Video

    ADOBE AUDITION 3.0 User Guide Snapping to a video frame that falls within a video thumbnail See also “Snap to markers, rulers, frames, and zero crossings” on page 76 “Snap to clip and loop endpoints” on page 193 “Zooming audio” on page 20 Change how a video clip displays thumbnails You can change how a video clip displays thumbnails of frames.
  • Page 235 ADOBE AUDITION 3.0 User Guide Video panel and related clip in Main Panel To customize the Video panel, right-click it, and select any of the following options: Zooms in or out. A zoom percentage Fits previews to the panel. Best Fit Maintains aspect ratio when you resize the panel.
  • Page 236 You can also use this procedure to export an audio mixdown that you recombine with video in a video application, such as Adobe Premiere Pro. Though exported video files are limited to stereo audio, exported audio mixdowns support stereo and surround sound.
  • Page 237: Chapter 13: Creating Surround Sound

    Surround sound basics About surround sound With surround sound, heard in many popular movies, you can pan an audio mix around a room. Adobe Audition supports 5.1 surround sound, which requires five speakers, plus one low frequency subwoofer (LFE). To properly preview a 5.1 surround-sound mix, your computer must have a sound card with at least six outputs, and the speakers...
  • Page 238: Setting Track Pan And Volume For Surround Mixes

    ADOBE AUDITION 3.0 User Guide Surround Encoder dialog box A. Track controls B. Waveform display with pan envelopes C. Preview and export controls See also “Include a track or bus in a surround mix” on page 233 “Assign a surround panning control” on page 234 “Adjust volume levels for surround mixes”...
  • Page 239 ADOBE AUDITION 3.0 User Guide Assign a surround panning control ❖ At the top right of the Surround Encoder dialog box, choose one of the following Panning Assignment options for each track: Retains stereo imagery by using the Surround Panner as a balance control, attenu- Surround Panner, Stereo Source ating content in the left and right channels without moving it.
  • Page 240 ADOBE AUDITION 3.0 User Guide Surround Panner options A. Left Surround B. Front Left C. Center D. Front Right E. Right Surround F. Low Frequency Effects (Subwoofer) G. Pan point Statically pan tracks in a surround mix In the Surround Encoder dialog box, select a track, and deselect Pan Envelopes.
  • Page 241: Previewing And Exporting Surround Mixes

    ADOBE AUDITION 3.0 User Guide • To edit a control point, drag it. The pan point moves in tandem to show you the relative position in the surround field. • To delete an individual control point, drag it up or down beyond the waveform display.
  • Page 242 Sets the overall amplitude for exported files. Use this slider with the output meters to maximize overall Master Level amplitude and ensure that no channels are clipping. Displays the currently selected device to which Adobe Audition routes the six-channel, Preview Device, Format surround output.
  • Page 243 “Create mixes with the Surround Encoder” on page 232 Export a surround mix Adobe Audition can export surround mixes in either one WMA or WAV file that contains all six channels, or six separate WAV files for each channel. Note: If you plan to deliver exported files to an outside service for surround encoding, confirm format requirements with that service.
  • Page 244 ADOBE AUDITION 3.0 User Guide • Limits the list of selectable WMA kbps Show Codec Formats That Most Closely Match The Session’s Sample Rate options to the sample rate and bit depth of files in the current multitrack session. See also “Windows PCM (.wav, .bwf)”...
  • Page 245: Chapter 14: Saving And Exporting

    Chapter 14: Saving and exporting Saving and exporting files Save audio files individually In Edit View, you can save audio files in a variety of common formats. The format you choose depends on how you plan to use the file. Keep in mind that each format stores unique information that might be discarded if you save a file in a different format.
  • Page 246 You can reopen a saved session file later to make further changes to the mix. If you create multitrack compositions entirely in Adobe Audition, save session files in the native SES format. If you plan to share multitrack compositions with other applications, however, save sessions in XML format.
  • Page 247 ADOBE AUDITION 3.0 User Guide (Recommended) Select Save Copies Of All Associated Files to save a copy of every file used in a session into the same folder as the session file. Important: To more easily organize, move, and archive all files in a session, select the option above.
  • Page 248 Include All Markers and Metadata “Marker types” on page 81.) If you plan to use Adobe Audition to burn the file to CD, leave this option selected. If you plan to use a different application, deselect this option, because that application may misinterpret non-audio information (such as markers and metadata), producing an unpleasant burst of noise at the beginning of each track.
  • Page 249: Audio File Formats

    About audio file formats Adobe Audition lets you open and save files in a wide variety of audio formats. In most cases, you should save uncompressed audio in Windows PCM format and compressed audio in either mp3PRO or Windows Media Audio format.
  • Page 250 AIFF is a good choice for cross-platform compatibility in both Windows and Mac OS. 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 251 As it saves a .cel file, Adobe Audition calculates how much silence will be added to the .mp3 file and writes this infor- mation 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 that it loops smoothly.
  • Page 252 (.mp3) The mp3PRO filter enables Adobe Audition to directly encode and decode .mp3 files. 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 uncompressed internal format of Adobe Audition.
  • Page 253 ADOBE AUDITION 3.0 User Guide Avoid compressing the same audio to mp3 more than once. Opening and resaving an .mp3 file causes it to be recom- pressed, so any artifacts from the compressing process become more pronounced. MP3/mp3PRO Encoder Options dialog box contains two sets of options: simple options for choosing an encoding method and more advanced options.
  • Page 254 Determines how .mp3 files are opened in Adobe Audition. Selecting this option forces Set All Decoding To 32-Bit Adobe Audition to upsample non-32-bit .mp3 files to 32-bit. Deselecting this option allows .mp3 files to be opened with the original bit depth intact.
  • Page 255 The SampleVision format is native to the Turtle Beach 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 Marker List panel. The Label of the marker must be...
  • Page 256 3 .wav files. Values are normalized to the range of +/–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.)
  • Page 257: Video File Formats

    About video file formats Adobe Audition lets you import and export video files in AVI, MOV, or WMV format. When you export to video, you must save in the format of the video file you imported in the session. For example, if you import an AVI file, you can export to video only in AVI format.
  • Page 258: Adding File Information

    Text Fields options In Adobe Audition, you can embed text-based data in Windows .wav files that use the RIFF LIST INFO and DISP type 1 formats, and you can embed standard ID3 tag information in .mp3 files. Provided that other audio editors support this information, it remains with an audio file throughout its lifetime.
  • Page 259 Windows PCM (.wav) format. You must select this option in order to edit any of the other options. If you deselect this option, Adobe Audition deletes all Broadcast Wave metadata associated with the file when you click OK to close the dialog box.
  • Page 260 Set properties as desired, and click OK. Note: In Adobe Bridge, you can read XMP metadata embedded in a WAV or mp3 audio file either in the Metadata panel or by choosing File > File Info. (See “Importing with Adobe Bridge” on page 50.)
  • Page 261: Chapter 15: Automating Tasks

    Chapter 15: Automating tasks Favorites Apply favorites to audio files Favorites are effects, scripts, and even third-party tools that you can save for easy access. The Favorites panel lists some defaults to get you started, plus any additional favorites you create. The same items appear in the Favorites menu. ❖...
  • Page 262 Click the Clear button to delete an existing shortcut. 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: Normalizing Groups Of Files

    If volume is raised during this process, Adobe Audition can apply limiting to prevent clipping. If you’re getting ready to master an audio CD, using Group Waveform Normalize is a great way to make sure that all tracks on the CD have a consistent volume.
  • Page 264: Batch Processing Files

    Adobe Audition comes with several scripts that you can use to batch process files. You can also create your own scripts. To use a script for batch processing, you must record the script on an open waveform with no selection.
  • Page 265 ADOBE AUDITION 3.0 User Guide Adding files in the Batch Processing dialog box See also “About scripts” on page 261 Batch process files In Edit View, choose File > Batch Processing. Click the tabs at the bottom of the dialog box to set the batch processing options described below, and then click Run Batch.
  • Page 266: Scripts

    In Edit View, 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; Adobe Audition stores the exact actions of your mouse and any tweaking of parameters, so you can repeat them in the same sequence when you run the script.
  • Page 267 ADOBE AUDITION 3.0 User Guide A set of scripts can be grouped together in a script collection. For example, a script collection called “ambience” might contain scripts for adding echo, reverb, and delay, and one called “batch utilities” might contain scripts for batch processing.
  • Page 268 ADOBE AUDITION 3.0 User Guide Set the following options, and then click Run Script: Stops the script at each dialog box used in the script, so you can modify the settings at those points. Pause At Dialogs Clicking Cancel in any dialog box stops the script, and clicking OK continues it.
  • Page 269: Chapter 16: Building Audio Cds

    “Basic components of Edit, Multitrack, and CD View” on page 19 Insert CD tracks Adobe Audition provides a variety of ways to insert tracks into CD View. Keep in mind that you’re not limited to inserting entire files—you can also insert audio ranges that are defined with CD track markers.
  • Page 270 • Drag any supported audio file type from your desktop (Windows, My Computer, or Windows Explorer) directly into the track list in CD View. The file first opens in Adobe Audition, and then is inserted into the track list. • In Edit View, open a file. To insert the entire file, make sure that no audio is selected; to insert part of a file, select the desired range.
  • Page 271 Set CD track properties Adobe Audition lets you specify a title and artist for each track. CD players that support CD Text display the text during playback. You can also change the length of pauses between tracks, enable or disable copy protection and pre-emphasis features, and add an ISRC (International Standard Recording Code) number.
  • Page 272: Writing Cds

    Before you write a CD, you should verify that your CD burning device is set up correctly. 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.
  • Page 273 Specifies how many copies of the CD you want to burn. You can burn up to 99 copies of a CD. When burning Copies multiple copies of a CD, Adobe Audition prompts you to insert a new CD for each copy. Ejects the CD tray upon completion of the write process.
  • Page 274: Chapter 17: Keyboard Shortcuts

    Adobe Audition to the C4 note on your MIDI keyboard.) Adobe Audition also features a shortcut bar with groups of buttons you can show or hide to suit your current task. For more information, see “Display the shortcut bar” on page 27.
  • Page 275: Default Keyboard Shortcuts

    Default keyboard shortcuts Keys for opening views The following keyboard shortcuts perform the same functions in Edit View, Multitrack View, and CD View. This partial list includes the shortcuts that many Adobe Audition experts find most useful. Result Shortcut Open Edit View...
  • Page 276 For a complete list of shortcuts, choose Edit > Keyboard Shortcuts And MIDI Triggers. See also “Customize shortcuts” on page 269 Keys for editing audio files The following keyboard shortcuts apply only in Edit View. This partial list includes the shortcuts that many Adobe Audition experts find most useful. Result Shortcut...
  • Page 277 ADOBE AUDITION 3.0 User Guide Result Shortcut Select the same input or output for all audio tracks Ctrl+Shift-select Activate or deactivate Mute, Solo, or Record in all Ctrl+Shift-click tracks Adjust knobs in 10-unit increments Shift-drag Adjust knobs in fractional increments of one-tenth...
  • Page 278: Chapter 18: Digital Audio Glossary

    256 possible amplitude levels and a 48 dB dynamic range; 16-bit resolution provides 65,536 levels and a 96 dB range. Adobe Audition supports up to 32-bit resolution with 4,294,967,296 possible levels. For the best audio quality, remain at 32-bit resolution while transforming audio in Adobe Audition, and then convert to a lower bit depth for output.
  • Page 279 ADOBE AUDITION 3.0 User Guide In hardware mixers, a channel that lets you combine several other channels and output them together. In Adobe Audition’s Multitrack View, you can similarly use software buses to combine several tracks. An audio track comprised of clicks that occur on the beat, like a metronome. Click tracks are often used...
  • Page 280 Editing (such as cutting and pasting, or effects processing) that changes the original audio data. destructive editing For example, in destructive editing, a change in audio volume alters the amplitude of the original audio file. In Adobe Audition, Edit View is a destructive editing environment; however, edits do not permanently change audio until you save a file.
  • Page 281 A method of sending timing information between MIDI-capable devices. For example, you MIDI Timecode (MTC) can convert SMPTE timecode to MTC to synchronize Adobe Audition’s transport controls with a video or audio tape deck. An Adobe Audition shortcut triggered by a MIDI event, such as Note On. You can send MIDI events MIDI trigger to any device capable of issuing a MIDI command, such as MIDI keyboards and sequencers.
  • Page 282 On the audio spectrum, pink noise falls exactly between brown and white noise. A software component that you can add to another piece of software to increase its functionality. Adobe plug-in Audition supports third-party VST and DirectX audio plug-ins, which seamlessly integrate into Adobe Audition’s...
  • Page 283 The reverberant sound produced by an acoustic space, such as a room or concert hall. Reverb consists of reverb dense, discrete echoes that arrive at the ear so rapidly that the brain can’t separate them. Adobe Audition offers three reverb effects: Studio Reverb, Reverb, and Full Reverb.
  • Page 284 White noise has a spectral frequency of 1, so equal proportions of all frequencies are present. Because white noise 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.
  • Page 285: Index

    Advanced Session Properties dialog Bars And Beats time format 55, 221, adding file information 253, 255 box 210 appending to 44 After Effects. See Adobe After Effects bass management circuit 236 closing 49, 244 AIFF format, about 245 batch processing files 259, 260...
  • Page 286 197 spectral displays 69 buffer and write speed for grouping 192 timecode display 34 burners 267 hidden 195 burning, using Adobe Audition 267 inserting in sessions 47 burning, using another locking in time 202 DAC, defined 274 program 240...
  • Page 287 122 editing 207 Dialogic ADPCM format 246 Edit Favorites command 256 for clips 203, 210 DiamondWare Digitized format 247 Edit In Adobe Audition for tracks 204 digital audio command 227 equalization (EQ), defined 275 See also audio...
  • Page 288 31 loops analyzing 93, 95 adjusting levels 63, 64 about 221 defined 275 choosing 31 Adobe Audition Loopology selecting 73 inputs, assigning to tracks 186 DVD 221 viewing 65 Insert In CD List command 265 creating 71, 224 Frequency Analysis panel 93, 94, 95...
  • Page 289 (ms), defined 276 Merge/Rejoin Split command 197 naming clips 202 miniplug, defined 276 merging markers 82 new features in Adobe Audition 3.0 5 mix downs, exporting metadata New Session command 46 to audio 201, 242 adding to audio files 253...
  • Page 290 SMPTE/MTC 40 PCM Raw Data format 251 Nyquist Frequency, defined 277 System 34 PCM, defined 277 Premiere. See Adobe Premiere Pro peak (PK) files, setting options for 37 preroll and postroll peak indicators 62 offline editing, defined 277 for effect previews 107...
  • Page 291 241 about 152 inserting clips 47 mix downs to audio 242 defined 278 linking to Adobe Premiere Pro or mix downs to video 243 effects 153, 156, 157 After Effects 227 sessions 241 reversing audio 87...
  • Page 292 INDEX 287 generating 86 splines for graphs 105 tempo removing automatically 84 Split command 197 defined 278 slip edit 196 Spot Healing Brush 74 editing 55 Smart Input command 57 SPTI (SCSI Pass Through Interface) 35 session tempo 211 smoothing edit boundaries 37 SPTI options 52 temporary folders SMP format 250...
  • Page 293 INDEX 288 gain for 186 video reversing 87 identical settings, applying 184 clips 228 statistics 96 inputs and outputs 186 exporting mix downs to 230, 243 wet, defined 279 inserting files into 49 importing 228 white noise moving 183 previews, customizing 229 defined 279 muting 184 supported formats 252...
  • Page 294 INDEX 289 zooming phase and frequency graphs 95 using Selection/View controls 22 using Zoom panel, scroll bars, or rulers 20...

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