Adobe AUDITION 3 User Manual page 135

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
FFT Filter options
Passive, Logarithmic modes
(Logarithmic), where a setting of 100% or 0 dB represents no change.
View Initial Filter Graph, View Final
selected. The rate at which the filter migrates from the initial to final settings depends on the Transition Curve
settings.
Displays the x-axis (frequency) in a logarithmic scale rather than a linear scale. A logarithmic scale more
Log Scale
closely resembles the way the ear hears sound.
• To do finer editing in low frequencies, select Log Scale.
• For detailed, high-frequency work, or work with evenly spaced intervals in frequency, deselect Log Scale.
Sets the maximum and minimum values for the horizontal ruler (y-axis).
Max, Min
Specifies the size of the FFT to use (represented as a power of two), thereby affecting processing speed and
FFT Size
quality. For cleaner sounding filters, use higher values. Values between 1024 and 8192 work well.
Use a lower value (512 or so) for faster previews, and use a higher value after you achieve the settings you want for
better quality when processing audio.
Determines the amount of transition width and ripple cancellation that occurs during
Windowing Function
filtering, with each one resulting in a different frequency response curve. These functions are listed in order from
smallest width and greatest ripples to widest and least ripples.
The filters with the least ripples are also those that most precisely follow the drawn graph and have the steepest
slopes, even though they are wider and pass more frequencies in a band-pass operation. The Hamming and
Blackman filters give excellent overall results.
Applies a constant filter to the waveform. Deselect this option to set initial and final filter
Lock To Constant Filter
settings.
Morphs the initial filter settings to the final filter settings. If this option is deselected, the settings simply
Morph
change in linear fashion over time. For example, if Morph is unselected, and you have a spike at 10 kHz for the initial
filter and a spike at 1 kHz for the final filter, the spike at 10 kHz will gradually decrease over time, and the spike at 1
kHz will gradually increase over time; frequencies between 1 kHz and 10 kHz won't be affected. If Morph is selected,
however, the spike will gradually transition from 10 kHz down to 1 kHz, passing through the frequencies in between.
For a cool example of morphing, select Passive mode, and set an initial curve with the first half at 100% and the
second half at 0%. For the final curve, set the right tenth or so at 100% with the rest at 0%. This combination selects
high frequencies for the initial configuration, and low frequencies for the final configuration.
To get a nice blending from high to low, select Morph to include all the frequency combinations between the two
filters. Click Transition Curve to view the actual settings that will be used over the duration of the selection.
Measures frequency changes (boosts or cuts) in percentages (Passive) or dB
Lets you set both an initial and a final filter setting if Lock To Constant Filter isn't
ADOBE AUDITION 3.0 130
User Guide