Lesson files for \”Adobe CS6 Classroom In A Book\” n – Adobe Support Community –

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Note: Classroom in a Book does not replace the documentation, support, updates, or any other benefits of being a registered owner of Adobe Audition CC software. Set up Adobe Audition CC 2. The Audition interface 3. Waveform editing 4. Effects 5. Audio Restoration 6. Mastering 7. Sound design 8. Creating and recording files 9. Multitrack sessions Multitrack session editing Automation Video soundtracks The essential sound panel The multitrack mixer Creating music with sound libraries Recording and output in the multitrack editor Mixer Online.

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Account Options Sign in. Top charts. New arrivals. Maxim Jago is a multi-award winning filmmaker, screenwriter, and public speaker. Maxim is an Adobe Master Trainer, providing training and workflow consultancy around the world, and consults as a futurist, exploring new technologies, social change, the use of media technology for storytelling, and future social lifestyles. He lives mostly in the air but officially in London, England.

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Adobe audition cs6 classroom in a book lesson files free download free download. Adobe® Audition® CS6 Classroom in a Book®: The official training workbook from Adobe Systems by

 

In most cases the default is fine. Past a certain amount of input of thumb is to set it for the most natural sound.

With no become unnatural. The level at which this will look-ahead time, the limiter has to react instantly to a transient, which is not occur varies depending possible: It has to know a transient exists before it can decide what to do with it.

With voice, instantaneous. The two most important parameters are Threshold the level above which compression starts to occur and Ratio, which sets the amount of change in the output signal for a given input signal change. For example, with a ratio, a 4dB increase in input level produces a 1dB increase at the output.

With an ratio, an 8dB increase in input level produces a 1dB increase at the output. Also, delete any currently loaded effects. This shows how the Threshold and Ratio controls interrelate, and explains why you usually need to go back and forth between these two controls to dial in the right amount of compression. Slowly increase the Ratio slider by moving it to the right. The farther you move it to the right, the more compressed the sound. Leave the Ratio slider at 10 i. The lower the Threshold, the more compressed the sound; below about dB, with a Ratio of , the sound becomes so compressed as to be unusable.

Leave the Threshold slider at dB for now. When you bypass the Single- Band Compressor, note that the meters are more animated and have more pronounced peaks. The reason is that reducing peaks allows for increasing the overall output gain without exceeding the available headroom or causing distortion. Attack sets a delay before the compression occurs after a signal exceeds the threshold.

Allowing a slight Attack time, like the default setting of 10ms, lets through percussive transients up to 10ms in duration before the compression kicks in.

Now set the Attack time to 0. There are no rules about Release time; basically, set it subjectively for the smoothest, most natural sound, which will usually lie between and ms.

You can use the same basic steps as in the previous lesson to explore the Tube-Modeled Compressor. The one obvious difference is that the Tube-Modeled Compressor has two meters: the one on the left shows the input signal level, and the one on the right shows how much the gain is being reduced to provide the specified amount of compression.

It divides the frequency spectrum into four bands, each with its own compressor. Note that each band has an S Solo button, so you can hear what that band alone is doing. This shows how multiband compression can add an element of equalization; the output gain for the two upper bands is considerably higher than the two lower bands.

This is the mirror image of the Enhance Highs preset. The reason is that the highest band has an extremely low threshold of dB, so even low-level, high-frequency sounds are compressed. Speech Volume leveler The Speech Volume Leveler incorporates three processors—leveling, compression, and gating—to even out level variations with narration, as well as reduce back- ground noise with some signals.

As you move the slider to the right, the output will become louder than the input. Choose a value of about 60 for now. The output will peak at around -6dB. Adjust the Target Volume Level until the peaks match the peaks you saw in step 6.

The slider should be around dB. There should be fewer volume variations between the soft and loud sections. To best hear how this works, with the Leveling Amount at the default setting of , select the audio between 2 and 6 seconds, and loop it. Move the Leveling Amount back to 60, and the noise goes away. Observe the meters, and see if further tweaking can help create a more consistent output.

In the reducing the attack and illustration the top waveform is the original file, whereas the lower one has been decay time of the effect processed by the Speech Volume Leveler. Delay and echo effects Adobe Audition has three echo effects with different capabilities. All delay effects store audio in memory and then play it back later. The time that elapses between storing it and playing it back is the delay time.

This makes it easy to hear single delay. Leave Adobe Audition where the project has a particular tempo. Samples is useful for tuning out short timing differences, because analog Delay you can specify delays Before digital technology, delay used tape or analog delay chip technology. These down to 1 sample at a 44,Hz sample produced a more gritty, colored sound compared to digital delay.

Analog Delay simply repeats the audio with the start time of the repeat specified by the delay amount. Unlike the Delay effect, there are separate controls for Dry and Wet levels instead of a single Mix control.

The Delay slider provides the same function as the Delay effect except that the maximum delay time is 8 seconds. No Feedback a setting of 0 produces a effect. For 4 With feedback at 50, set the Trash control to Vary the loop tempo is feedback, being careful to avoid excessive, runaway feedback. Keep Audition open for the note is The Lesson04 folder includes a file called Period vs. For example, if the response is set to be brighter than normal, each echo will be brighter than the previous one.

E Tip: To set both 2 Compared to the previous delay effects, Echo has yet another way of setting the channels to the same echo mix; each channel has an Echo Level control that dials in the echo amount. Delay Time, enable Lock Left and Right. The Dry signal is fixed. That makes it easier to hear the difference moving a single slider has on the sound. Now the echoes are brighter. The echoes are now bassy. Filter and eQ effects Equalization is an extremely important effect for adjusting tonality.

Adobe Audition has four different equalizer effects, each used for different purposes, that can adjust tonality and solve frequency-response related problems: Parametric Equalizer, Graphic Equalizer, FFT Fast Fourier Transform Filter, and Notch Filter.

Parametric equalizer The Parametric Equalizer offers nine stages of equalization. Each parametric equalization stage has three parameters. The Parametric Equalizer is capable of high amounts of gain at the selected frequencies. Start playback. Each represents a controllable parametric stage. Click one of them e.

Drag left to affect lower frequencies or right to affect higher frequencies. Listen to how this changes the sound. The L and H squares control a low shelf and high shelf response, respectively. This starts boosting or cutting at the selected frequency, but the boost or cut extends outward toward the extremes of the audio spectrum.

Note how this increases the treble. Similarly, click on the L box to hear how this affects the low frequencies. There are two additional stages, Highpass and Lowpass, which you enable by clicking on the HP and LP buttons, respectively. Click those buttons now. A Highpass filter is helpful for removing subsonic very low-frequency energy. Click on the HP box and drag it to the right to hear how it affects low frequencies.

Note how this creates a gradual curve. Keep this project open for the next lesson. The screen shot shows a steep along the bottom of Highpass slope, a slight parametric boost with stage 2, a narrow parametric cut the screen has three additional options.

Constant Q, where Q is a ratio compared to frequency, is most common, whereas Constant Width means the Q is the same regardless of frequency. The Ultra-Quiet option reduces noise and artifacts but requires much more processing power and can usually be left off.

Range sets the maximum amount of boost or cut to 30dB or 96dB. The more common option is 30dB. Caution: In the following lesson, keep monitor levels down as you make adjustments. The Graphic Equalizer can produce high amounts of gain at specific frequencies. Move the various sliders up and down to hear how each affects the timbre through varying the level within their respective frequency bands.

In musical terms, each slider is an octave apart. Keep Audition open in preparation for the next lesson. P Note: The strip along the bottom of the Graphic Equalizer screen has three additional parameters. Range sets the maximum available amount of boost or cut up to dB which is a lot! Accuracy affects low-frequency processing. Otherwise, leave it at the default of points to reduce CPU loading. Master gain compensates for Output level changes caused by using the EQ.

Turn it down if you added lots of boosting; turn it up if you used lots of cutting. To hear how it works, follow the same basic procedure as the lesson for the 10 Bands version.

The default settings are a practical point of departure. FFT is a highly efficient algorithm commonly used for frequency analysis. You can then drag this point up, down, or sideways. You are not limited to the number of points you can add, which allows you to make very complex—and even truly bizarre—EQ curves and shapes. The screen shot on the left shows Spline Curves deselected and the original placement of points, whereas the screen shot on the right shows Spline Curves selected.

P Note: As for other FFT Filter parameters, for Scale choose Logarithmic when working primarily with low frequencies because this produces the best resolution for drawing in nodes. Linear has the same advantage at high frequencies. For the Advanced options, for the best accuracy with steep, precise filters, choose higher values like to Lower values produce fewer transients with percussive sounds.

For Window, Hamming and Blackman are the best overall choices. The choices listed first narrow the shape of the response curve with subsequent choices progressively widening the shape.

Note the huge amount of hum in the file. Turn off notches 3, 4, 5, and 6. Turn off notches 1 and 2. Experiment with the Gain parameters for notches 1 and 2. These tend to produce very specific sounds, and the presets included with Adobe Audition are a good place to start. But there will also be some analysis of which parameters are most important for editing.

The Chorus effect is optimized for stereo signals, so convert mono signals to stereo for best results. Then click OK. Play the file to hear what it sounds like.

Select Highest Quality; most modern computers can provide the additional processing power this option needs. If the audio crackles or breaks up, deselect this option.

Notice how the sound becomes more animated. To make this more obvious, increase the Modulation Rate to 2. Return Modulation Depth to 0. Because this adds a lot more audio, you may need to bring down the Output control in the Effects Rack panel to avoid distortion. Set it to around 40ms for now. Set it to around ms.

Stereo Field makes the output narrower or wider. If you like the sound better, leave them selected. Note that some of the more bizarre sounds combine lots of modulation, feedback, or long delay times. Alter the Feedback setting; more feedback produces a more resonant sound. Stereo Phasing changes the phase relationship of the modulation; when set to 0, the modulation is the same in both channels.

Increase the Phasing amount to offset the modulation in the two channels, which creates more of a stereo effect. Vary the Modulation Rate to change the modulation speed.

Experiment with these options. Selecting Inverted changes the tone. The effect varies depending on the other parameter settings. Many of the more radical patches use either high Modulation Rates, large amounts of Feedback, longer Initial or Final Delay Times, or a combination of these. Speed provides the same function as Modulation Rate. Phaser The Phaser effect is similar to Flanging but has a different, and often more subtle, character because it uses a specific type of filtering called an allpass filter to accom- plish its effect instead of delays.

Play the file. Change the Upper Freq to around Hz. The farther you move the Phase Difference away from the center 0 position, the greater the stereo effect. Leave it at for now. Leave it at 0. Note how at faster settings the effect is almost like vibrato. Return it to 0. This complements the Upper Frequency parameter, which is the highest frequency that Modulation attains. Moving the value toward 0 increases the proportion of dry signal to wet signal, whereas moving the value toward increases the proportion of wet signal to dry signal.

Experiment with these parameters to hear how they affect the sound. These include the ability to remove noise, delete pops and clicks, minimize the sound caused by scratches in vinyl records, reduce tape hiss, and more.

Two common reverb processes are convolution reverb and algorithmic reverb. Audition includes both. Convolution Reverb is generally the more realistic sounding of the two.

It loads an impulse, which is an audio signal typically WAV file format that embodies the characteristics of a particular, fixed acoustic space. The effect then performs convolution, a mathematical operation that operates on two functions the impulse and the audio to create a third function that combines the impulse and the audio, thus impressing the qualities of the acoustic space onto the audio. The trade-off for realism is a lack of flexibility. Algorithmic Reverb creates an algorithm mathematical model of a space with variables that allow for changing the nature of that space.

All Audition reverbs other than the Convolution Reverb use algorithmic reverb technology. Each type of reverb is useful. However, it is a CPU-intensive process. Note how each impulse produces a different reverb character. Move the Damping E Tip: You can use LF slider to the left to simulate the effect of a room with lots of sound-absorbing Convolution Reverb to load most WAV files material, which absorbs high frequencies more readily than low frequencies.

Online sources offer free impulses that work with 8 Pre-Delay sets the time before a sound first occurs and when it reflects off a standard convolution surface. Also, you can load phrases, loops, slider to the left to narrow the image. These can be valuable for sound design and Studio reverb special effects.

Many of the Full Reverb and Reverb parameters cannot be adjusted during playback, because they are very CPU-intensive. Drag the minimum, can add a Decay slider all the way to the left, and then vary the Early Reflections slider. Increasing early reflections creates an effect somewhat like a small acoustic This can make narration space with hard surfaces. Adjust the Width control to set the stereo imaging, from narrow 0 to wide Move the slider more to the left to reduce the high frequencies for a darker sound or more to the right for a brighter sound.

The difference between damping and High Frequency Cut is that damping applies progressively more high-frequency attenuation the longer a sound decays, whereas the high frequency cut is constant.

Experiment with damping. In general, high-diffusion settings are common with percussive sounds; low-diffusion settings are used with sustaining sounds e.

Also, you cannot adjust the reverb characteristics in real time—only when playback is stopped. You can edit the dry and wet levels at any time. Leave Audition open. Full reverb Full Reverb is a convolution-based reverb and is the most sophisticated of the various reverbs but also the most impractical to use because of the heavy CPU loading. No parameters other than the level controls for dry, reverb, and early reflections levels can be adjusted during playback, and even then, the level control settings take several seconds to take effect however, if you stop playback and adjust them, the change occurs immediately on playback.

Also, if you change any of the non-level reverb parameters while stopped, it can take several seconds before playback begins.

However, the Early Reflections options are more sophisticated than any of the other reverbs. With playback stopped, turn the Dry and Reverberation Output Level controls to 0 and Early Reflections to so you can easily hear the results of changing the related parameters. Bigger room sizes create longer reverbs. Dimension sets the ratio of width to depth; values below 0. This sets the time before the coloration EQ takes effect. Set it to 0 as you experiment with the parametric parameters so you can hear the results as quickly as possible.

Load various presets to get a sense of the sounds this effect can create, and then return to the Default preset. Click at the intersection of the two levels on the X and Y axes. Dragging the node to the left also increases distortion by allowing lower levels to distort. Continue adding and P Note: Regarding moving nodes to hear how this affects the sound.

When there are multiple the other Distortion parameters, dB Range nodes, you can smooth the curve that incorporates them by increasing the changes the range Curve Smoothing parameter value.

With the graphs unlinked, bring the upper-right square for one of Linear scale changes the calibration; the graphs down to dB. Leave changes, particularly at lower frequencies. Processing a bass with a hint of when editing. Because guitar is a percussive instrument, many guitar players use compression to even out the dynamic range and produce more sustain.

Fifteen types are available, including a cabinet for bass guitar. E Tip: Many guitar 3 Call up the preset Big and Dumb, which makes a great start for a classic rock sounds use distortion. However, you want to avoid unintentional 4 Vary the Compressor Amount slider. The sound will be more percussive to the distortion caused by left and more sustained with a slight volume drop to the right. Set the Amount overloading within Audition and use to 70 before proceeding. Try the three different distortion types from the Distortion processor.

Guitar Type drop-down menu, and vary the Amount slider. Garage Fuzz is more processors can cause punk, Smooth Overdrive more rock, and Straight Fuzz emulates the sound of a wide level swings, so pay close attention to distortion effect box rather than an amp.

Input and Output controls to make sure 6 That sound seems a little harsh, but you can make it smoother with the filter. Also note that there are six non-amp and special FX sounds. Bypassing the Amplifier emphasizes just how much speakers and cabinets influence the tone. Deselect the Filter bypass check box. Therefore, reducing signal levels due to filtering will result in less distortion. Often, this is the sound you want, but if you feel the overall level is too low, move the Distortion Amount slider to the right to compensate.

For a big, metal sound, set Freq to around Hz and Resonance to 20 to produce a little response peak at that frequency. Turn up Resonance if you really want to go overboard. With Resonance at 0, move the Freq slider across its range.

The peak level will be around 1kHz; moving the Freq slider to either side reduces the level somewhat and also changes the timbre. Load the Big And Dumb preset. Its parameters work similarly to the same parameters in the Parametric Equalizer effect. The Equalizer also includes a real-time graph in the background that shows the current frequency response spectrum. Adds ambience if needed.

Allows for widening or narrowing the stereo image. Is a dynamics processor that increases the average level for a louder sound without exceeding the available headroom.

Can be adjusted to control the effect output and therefore compensate for any level changes due to adding various processes. You\’ll use the Mastering Suite to give greater clarity to a piece of music. Select Low Shelf Enable; a small X appears toward the left, which you click on and drag to change the shelf characteristics. Resume playback. Then drag down to about A little bit of Exciter effect goes a long way. Drag its slider to the right, and the sound will become way too bright.

Because the song is already fairly bright, disable the Exciter effect by dragging its slider all the way to the left. Note that the sonic difference among the three characters of Retro, Tape, and Tube becomes most noticeable with dull material and high Exciter amounts.

However, as with the Exciter, you can have too much of a good widest possible stereo thing. Excessive maximization can lead to ear fatigue, as well as make the music image to create a more dramatic sound. For this song, set it to 30 to provide a However, emphasizing useful boost without adding a distorted or unnatural sound. For further infor- mation on either effect, refer to the Help files.

Reversing the phase of one channel cancels out any material panned to center while leaving signals panned left and right alone. This is commonly used for karaoke to remove the vocal. Pull the Side Channel Levels control down all the way to isolate the bass. Start playback around 32 seconds.

Bring up the Center Channel Level to hear the vocals. Choose the highest possible Crossover Bleed settings and the lowest possible Phase Discrimination, Amplitude Discrimination, and Amplitude Bandwidth settings that are consistent with sound quality and effectiveness.

Increasing the Spectral Decay Rate will often improve sound quality as well. These illustrate the range of music you can create The sole effect under the Time and Pitch effect, Automatic Pitch Correction, from commercially is designed for vocals and corrects the pitch of notes so that they are in tune.

This effect analyzes the vocal to extract the pitch, calculates how far off a note is from the cor- rect pitch, and then corrects the note by raising or lowering the pitch to compensate. Observe the vocal has vibrato, correction meter on the right: The red band indicates how far off the pitch is the pitch will go somewhat sharp and from the ideal. When the meter moves up, the pitch is sharp. When the meter flat periodically. This moves down see screen shot , the pitch is flat. A centered meter indicates that is normal and usually the vocal is on pitch.

If you do not know the Scale and Key choose Chromatic from the Scale drop-down menu, which simply corrects to the nearest semitone. The vocal is in D but uses a flatted 7th note that is not part of the major scale. So, choose Chromatic P Note: As for the instead. In most cases, Chromatic will do the job.

At lower Threshold settings, parameters, Reference Channel is useful notes that are off-pitch by more than the pitch threshold will be unaffected. Listen for a few the pitch profile iterations of the loop, and then enable the effect.

FFT size trades off 7 Note how all the notes are on pitch. To compare, either bypass the effect or more accuracy larger move the Sensitivity Fader to 0.

This produces the fastest response, so the numbers. Calculation Automatic Pitch Correction will attempt to pitch-correct the vibrato. In the United States pitch naturally. A setting of 2 to 4 is a good compromise between correcting is the standard, but this pitch rapidly on sustained notes but not affecting vibrato. However, very few plug-ins are On either platform, plug-ins are installed in specific hard drive folders. You need bit only; almost to let Audition know where to find these plug-ins.

The information in the following all are available in bit versions that sections applies to both Windows and Macs unless otherwise specified. These your computer. Most plug-ins install to default folders, and Audition scans programmers to plug- ins that are every bit as these folders first.

However, some plug-ins may install into a different folder, or good—and sometimes you might want to create more than one folder of plug-ins. Audition must inspect your hard drive, so this can take a while. However, if needed, also complete the following steps. If Audition encounters a plug-in it cannot load, the scanning process stops.

Audition will enter the incompatible plug-in in the list of plug-ins, but it will be disabled. Unlike with the Effects Rack, you can apply only one effect at a time. This section covers effects that are available only from the Effects menu. You can use the Undo command to undo the effects. Clicking Apply applies the effect to the selected audio. Loop repeats the selected portion of the audio when you click Play. Reverse flips an audio selection so that the beginning occurs at the end and the end at the beginning.

Silence replaces the selected audio with silence. Note that the positive and negative sections are flipped, so the positive peaks are now negative and vice versa. Normalize All Channels Equally treats the peaks for both channels similarly, and DC Bias Adjust ensures that a level of 0 is truly a value of 0. A line that indicates amplitude appears superimposed on the selection. The curve now adapts to fit within the selection.

Regardless of the size of the selection, the curve adapts proportionally to fit. You can adjust the gain curve shape by clicking on the line to create new nodes, and as with the fade, a thumbnail in the Gain Envelope dialog box shows the shape.

If desired, select the Spline Curves check box to round the fade line. As with the Fade Envelope, the curve adapts to fit within the selection. Diagnostic effects Diagnostic effects will be covered in Lesson 5 along with the real-time, nondestruc- tive noise reduction and restoration tools. The Diagnostic effects produce the same sonic results but are destructive, DSP-based processes.

Like all of the Doppler Shifter presets, this effect is particularly dramatic on headphones. You may need to stop and restart Play between presets. Take a few moments to do this now. You can get some really wild effects with this processor; note that you may need to stop and restart Play with major edits. Play the file as a reference. Click on this control and drag down to lower pitch; drag up to raise pitch.

For now, drag down to cents 2 semitones. A yellow line superimposed on the Waveform overview shows the amount of pitch change. Click on the yellow line to Curve Resolution create a node, which you can drag up or down to further change pitch.

As with parameter trades off better accuracy higher other Audition envelopes, you can insert multiple nodes and make complex numbers for faster curves, as well as round them off by selecting the Spline curves check box. For the Reference Channel, try both options and use whichever produces the highest-quality sound. Leave Audition open for the next lesson. It offers high-quality time and pitch stretching.

The file will now play at half speed. The file now plays at double- speed. You can shorten this time by selecting a level of Precision other than the default setting of High.

This links the two parameters so that if, for example, you shift pitch up an octave, the speed doubles; shifting pitch down an octave halves the speed. Click Play, and then slowly move the Stretch slider to the right. For example, the current file is 4. Suppose it needs to be 5.

Click Play; now the loop is exactly 5. The Audition without saving the file. Audition algorithm is less CPU-intensive, but 8 The Advanced parameters are mostly important when manipulating voice; make the Radius algorithm sure the Solo Instrument or Voice and Preserve Speech Characteristics check has much better fidelity, and most modern boxes are selected, and adjust the Pitch Coherence slider for the best sound computers will have no quality this will be subtle. The preset header is similar for both individual effects and the Effects Rack.

A Save Effect Preset dialog box appears. The preset name will then appear in the list of presets. Delete a preset To delete a preset, select it, and then click the Trash Can button to the right of the Save Settings as a Preset button.

Many effects let you alter the proportion of the two types of audio. But you can also remove undesired artifacts by defining sections to be removed based on amplitude, time, and frequency. Audition has multiple tools for solving these problems, including specialized signal processors and graphic wave- form editing options. However, audio restoration involves trade-offs. For example, removing the crack- les from vinyl recordings may remove part of the sound that occurs during the crackles.

Reducing hiss Hiss is a natural by-product of electronic circuits, particularly high-gain circuits. Analog tape recordings always had some inherent hiss, but so do mic preamps and other signal sources.

Click the Transport Stop button. However, frequencies. Move the Reduce by slider to the left and the hiss will return. Move re-tweaking each slider it right to dB, and although there will be no hiss, the transients will lose can optimize the sound some high frequencies.

Also note that selecting Output Noise 9 Move the Reduce by slider to find a compromise setting between noise Only will play back only reduction and high-frequency response.

For now, leave it at 10dB. This can 10 The Noise Floor slider tells Audition where to draw the line between the noise help determine whether floor and the signal.

As with the Reduce by slider, moving the slider farther any desirable audio is being removed along to the left increases noise and farther to the right reduces noise and high- with the hiss. Leave it set to 10dB for now. Stop playback. Now vary the Noise Floor slider for the best compromise between hiss reduction and high-frequency response; -2dB is a good choice. Reducing clicks Clicks can consist of the little ticks and pops you hear with vinyl recordings, occa- sional digital clocking errors in digital audio signals, a bad physical audio connec- tion, and so on.

Conversely, a setting of lets through too many clicks. Choose a setting of 20 to reduce most clicks while minimally affecting the audio. Higher settings allow Audition to recognize more complex clicks but requires more computation and may degrade the audio somewhat. Thanks to combining two programs within a single, integrated application, Audition has multiple uses restoring audio, multitrack recording for musicians, mastering, sound design, broadcast, video game sound, narration and voiceovers, file format conversion, small-scale CD production, and even forensics.

Fortunately, all of this is available from a clean, easy-to-use, straightforward interface whose workflow has benefited from over a decade of continuous development and refinement. The latest version, Audition CS6, deepens the level of integration with Premiere Pro and After Effects for easy exchange of files and even complete sequences.

This greatly simplifies the process of creating a soundtrack that reflects changes in the video due to editing. There are also significant editing enhancements, such as envelope keyframe editing, clip grouping, multiple clipboards, real-time clip stretching, and more. Other new features include Automatic Speech Alignment to greatly simplify ADR, a media browser for quickly locating and previewing files, control surface support for multiple protocols, pitch correction, side-chaining, improved batch processing, and the ability to import and export more file formats than ever before.

These are just the highlights; long-time Audition users will appreciate the many little extras that enhance workflow and audio quality, whereas those new to Audition will welcome its depth and flexibility. The lessons are designed to let you learn at your own pace. If you re new to Adobe Audition, you ll learn the fundamental concepts and features needed to start mastering the program.

And, if you ve been using Adobe Audition for a while, you ll find that Classroom in a Book teaches basic to intermediate features, including tips and techniques for using the latest version of the application for a wide variety of projects. Although each lesson concentrates on providing step-by-step instructions to reach specific goals, there s room for exploration and experimentation. You can follow the book from start to finish, or do only the lessons that match your interests and needs.

Each lesson has an introduction that explains what you can expect to learn from a chapter, and concludes with a review section summarizing what you ve covered. What s in this book This edition covers many new features in Adobe Audition CS6, and how to apply them optimally in real-world situations. It addresses audio and music professionals who depend on Audition s tools to accomplish a variety of tasks, as well as videographers who want to become more involved in the process of creating, editing, and sweetening audio intended for video productions.

The book is organized in three separate parts. The introduction starts with how to get audio in and out of Audition on both Mac and Windows platforms, then progresses to an overview of the Audition Workspace a collection of modules, each dedicated to specific tasks, that you can open, close, and rearrange, depending on the nature of the project, to optimize workflow and efficiency.

The second part concentrates on digital audio editing in the Waveform Editor, and covers such topics as editing, signal processing and effects, audio restoration, mastering, and sound design. To segue into the final third, it also covers recording, and integration with the Multitrack Editor.

The final section covers the Multitrack Editor in detail, including editing, automation, creating music with sound libraries, in-depth coverage of mixing, and creating soundtracks for video. Throughout the book, examples using digital audio clips created specifically for this book give practical, hands-on experience that brings to life the theory presented in these pages.

Even non-musicians will learn how to create music using sound libraries and loops in conjunction with Audition s extensive toolset for sound creation and editing. You ll even learn how to do rough testing of your room acoustics prior to mixing, using tools within Audition. All of these can help you meet deadlines more easily than ever before and that alone is a good reason to become familiar with Audition s workflow, capabilities, and user interface. Prerequisites Before you begin to use Adobe Audition CS6 Classroom in a Book, you should have a working knowledge of your computer and its operating system.

Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. If you need to review these techniques, see the documentation included with your Microsoft Windows or Macintosh system. It s also highly recommended that you read over the introduction to the Audition manual that covers digital audio basics. You ll also need the ability to get audio in and out of your computer.

Virtually all computers include on-board audio capabilities audio input for recording, and internal speakers or a headphone jack for monitoring , but be aware that these use consumer-grade components and while adequate, will not showcase what Audition can do to the fullest extent. Professional and prosumer audio interfaces are available at very reasonable costs, and are recommended not just for doing the lessons in this book, but also for any future audio work involving computers.

Installing Adobe Audition Before you begin using Adobe Audition CS6 Classroom in a Book, make sure that your computer is set up correctly and that it meets the necessary system requirements for software and hardware. You ll need a copy of Adobe Audition CS6, of course, but it s not included with this book. Note that Audition is a very efficient program, and one of its attributes is that it will run reasonably well even on older computers. However, as with most audio and video programs, having sufficient RAM is essential for a smooth computing experience.

Make sure that your serial number is accessible before installing the application. You need to install Audition from its application DVD, or the online trial version you downloaded, onto your hard disk; you cannot run the program from the DVD. Follow the onscreen instructions for a successful installation. Starting Adobe Audition You start Audition just as you do most software applications. Each lesson has its own folder; you must copy the folders to your hard disk to complete the lessons.

To save room on your disk, you can install only the folder necessary for each lesson as you need it, and remove it when you re done.

To copy only individual lesson files, first create a new folder on your hard disk and name it Lessons. Then, open the Lessons folder on the CD and drag the lesson folder or folders that you want to copy from the CD into the Lessons folder on your hard disk. Only the commands and options used in the lessons are explained in this book.

For comprehensive information about program features and tutorials, please refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.

Adobe content is updated based on community feedback and contributions. You can add comments to content or forums including links to web content, publish your own content using Community Publishing, or contribute Cookbook Recipes.

Adobe Forums: forums. The Audition forum is accessible from Audition s Help menu. Adobe TV: tv. Adobe Design Center: offers thoughtful articles on design and design issues, a gallery showcasing the work of top-notch designers, tutorials, and more. Adobe Developer Connection: is your source for technical articles, code samples, and how-to videos that cover Adobe Audition, as well as the Audition SDK.

Resources for educators: offers a treasure trove of information for instructors who teach classes on Adobe software. Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certified Associate exams. Free audio content: Your purchase of Audition CS6 includes free libraries containing thousands of royalty-free loops, sound effects, music beds, and more.

Also check out this useful site: Inside Sound blogs. The Twitter feed is also accessible from Audition s Help menu. Checking for updates Adobe periodically provides updates to software. You can easily obtain these updates through Adobe Updater, as long as you have an active Internet connection and are a registered user. Adobe Updater automatically checks for updates available for your Adobe software.

The Adobe Certified Expert program is a way for expert users to upgrade their credentials. You can use Adobe certification as a catalyst for getting a raise, finding a job, or promoting your expertise.

If you are an ACE-level instructor, the Adobe Certified Instructor program takes your skills to the next level and gives you access to a wide range of Adobe resources. Adobe Authorized Training Centers offer instructor-led courses and training on Adobe products, employing only Adobe Certified Instructors. Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects. Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors.

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

In fact, sometimes audio engineers even use similar terms, like brightness, to describe increased treble. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor. There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors. The Effects Rack allows you to create a chain of up to 16 effects, which you can enable or disable independently.

You can add, delete, replace, or reorder effects. The Effects Rack is the most flexible way of working with effects. The Effects menu allows you to select an individual effect from the Effects menu bar and apply it to whatever audio is selected. When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack.

Some effects are available in the Effects menu that are not available in the Effects Rack. The Favorites menu is the quickest but least flexible way to work with effects. If you come up with a particularly useful effects setting, you can save it as a Favorite preset.

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

The final section describes how to work with presets, including Favorites. Click the Transport Play button to audition the loop, and then click the Transport Stop button. A toolbar is located above the inserts, and meters with a second toolbar are below the inserts. Although you can t see any graphical connection among them, the effect s inserts are in series, meaning that the audio file feeds the first effect input, the first effect output feeds the second effect input, the second effect output feeds the third effect input, and so on until the last effect output goes to your audio interface.

Inserting an effect turns its power button to on green and opens the effect s graphic user interface. You may need to move the effect s graphic user interface to load more effects.

P Note: Effects do not have to go into consecutive inserts. You can leave empty inserts between effects and place effects in these inserts later. Press the spacebar to begin playback, and then turn the Studio Reverb insert s power button on and off to hear how reverb affects the sound.

Press the spacebar again to stop playback. Begin playback. You ll hear a more pronounced reverb sound. You ll hear an echo effect, but it s not in time with the music. The echoes are now in time with the music. Later in this lesson we ll explain how to choose rhythmically correct delay times. Keep this lesson open as you continue. Removing, editing, replacing, and moving an effect Rather than present a structured exercise, try the various bulleted options that follow to see how they work.

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

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

Either of these actions brings the effects window to the front and opens it if it was closed. To move an effect to a different insert, click the effect s insert and drag to the desired destination insert. If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert.

Bypassing all or some effects You can bypass individual effects, groups of effects, or all effects in the Effects Rack by doing the following: The power button in the lower-left corner of the Effects Rack s panel bypasses all rack effects that are on. When powered back on, only effects that had been on prior to bypassing return to being on.

Bypassed effects remain bypassed regardless of the all effects power button setting. To bypass some effects, Ctrl-click Command-click on each effect s insert you want to bypass, right-click Control-click on any of these inserts, and then choose Toggle Power State of Selected Effects. Gain-staging effects Sometimes inserting multiple effects in series causes certain frequencies to add up and produce levels that may exceed the available headroom. For example, a filter that emphasizes the midrange could create distortion by increasing levels above acceptable limits.

To set levels, in the lower part of the Effects panel use the Input and Output level controls with associated meters. These controls can reduce or increase levels as needed. Do not start playback yet. Close the Parametric EQ window. The excessive levels will trigger the output meter s red overload indicators to the meter s right. However, the massive EQ boost is overloading the output. Turn up the monitoring level enough so you can hear the distortion this causes.

E Tip: You can click anywhere in the Output meter to reset the red distortion indicators. E Tip: Using the Mix slider to blend in more dry sound provides an easy way to make an effect more subtle.

Reduce the Input level until the peaks no longer trigger the red distortion indicators. This will likely require reducing the Input to dB or so. Keep this project open for the next lesson. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other. Applying effects Inserting an effect doesn t change the file but instead plays the original file back through the effect. This is called a nondestructive process using a real-time effect, because the original file remains unaltered.

However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version. For this lesson, choose Entire File. This not only applies the effect to the file to process it, but deletes the effect from the Effects Rack so the file isn t double processed from the effect being embedded in the file and from a processor remaining in the rack. Let s move on to lessons that show how individual effects change the sound.

Amplitude and Compression effects Amplitude and Compression effects change levels or alter dynamics. You ll load each effect individually to hear how each one changes the sound.

Amplify Amplify can make a file louder or softer. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted.

P Note: You can insert additional effects into the Effects Rack to change the sound further, and then apply those effects. The file will then reflect the changes caused by all the effects you ve applied. Also note that any changes are still not permanent until you save using either Save or Save As the file.

At that point, the effects will be embedded permanently in the file. With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel. Deselecting Link Sliders allows for adjusting each channel individually. I can unsubscribe at any time. Pearson Education, Inc. This privacy notice provides an overview of our commitment to privacy and describes how we collect, protect, use and share personal information collected through this site. Please note that other Pearson websites and online products and services have their own separate privacy policies.

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