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Adobe Audition gathers statistical information about the background noise so it can remove it from the remainder of the waveform. In Adobe Audition, a marker can be either a point or a range. A point refers to a specific time position A. Marker point B. Marker range. Adobe photoshop cs5 for photographers the ultimate workshop free movie studio hd platinum 11 instructions adobe dreamweaver cs6 revealed pdf descargar mac os x.

Tutorial adobe audition cs6 bahasa indonesia free download


Software ini direkomendasikan oleh banyak professional editor karena kemudahan penggunaannya. Sama seperti Presonus Studio One , dengan aplikasi audio editing kalian bisa dengan bebas mengubah suara, menaik turunkan vokal bahkan menghilangkan suara dengan mudah.

Tampilan interface aplikasi ini dibuat sesimpel mungkin agar mudah dipelajari. Selain itu tersedia banyak fitur keren seperti Automatic speech alignment tool, Multiple clipboards, New pitch correction dan lainnya. Fitur integrasi antar produk Adobe Sensei seperti dengan Adobe Premiere Pro juga semakin baik dari versi sebelumnya Kalian bisa akses video tutorial gratis bahasa indonesia di Youtube mengenai Adobe Audition jika ingin belajar aplikasi ini.

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Adobe Audition CS6 Portable (Free Download)


To delete a preset, select it, and click the Delete button. To modify an existing preset, apply it, adjust settings as desired, and then save a new preset with the same name. 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. Graph control points function together with related numerical settings. If you change or disable a numerical setting, the related graph control follows suit.

In the effects control graph, you can view the Frequency Spectrum that moves per audio frequency in real time. You can use the frequency spectrum to identify imbalances in audio and use control points to correct them. To add a control point to a graph, click in the grid at the location where you want to place the point. To return a graph to its default state, click the Reset button. By default, graphs display straight lines between control points. However, some graphs provide a Spline Curves option that creates a curve between control points for smoother transitions.

Instead, the points control the shape of the curve. To move the curve closer to a control point, click near it to create a cluster of control points.

Legal Notices Online Privacy Policy. Buy now. User Guide Cancel. Effects Rack overview. Controls unique to the Waveform Editor. Controls unique to the Multitrack Editor. Set input, output, and mix levels in racks. To optimize volume, adjust Input and Output levels so their meters peak without clipping.

To change the percentage of processed audio, drag the Mix slider. Insert, bypass, reorder, or remove effects in racks. In the Effects Rack, you manage groups of effects by using individual effect slots. To later reaccess effect settings, double-click the effect name in the rack. Bypass effects to quickly compare processed and unprocessed audio. To reorder effects, drag them to different slots. Use effect presets. To apply a preset, choose it from the Presets menu. Tip : The three elements of the noise floor can overlap in the graph.

To better distinguish them, click the menu button , and select options from the Show Noise Floor menu. For finer control over low frequencies, select Logarithmic. A logarithmic scale more closely resembles how people hear sound. Displays the selected channel in the graph. The amount of noise reduction is always the same for all channels.

Select Entire File. Noise Reduction. Controls the percentage of noise reduction in the output signal. Fine-tune this setting while previewing audio to achieve maximum noise reduction with minimum artifacts.

Excessively high noise reduction levels can sometimes cause audio to sound flanged or out-of-phase. Determines the amplitude reduction of detected noise. Values between 6 and 30 dB work well. To reduce bubbly artifacts, enter lower values. Output Noise Only. Advanced settings. Spectral Decay Rate. Specifies the percentage of frequencies processed when audio falls below the noise floor. Takes into account the variance of the noise signal in each frequency band.

Bands that vary greatly when analyzed such as white noise will be smoothed differently than constant bands like Hz hum. In general, increasing the smoothing amount up to 2 or so reduces burbly background artifacts at the expense of raising the overall background broadband noise level.

Precision Factor. Controls changes in amplitude. Values of work best, and odd numbers are ideal for symmetrical processing.

With values of 3 or less, the Fast Fourier transform is performed in giant blocks, and between them drops or spikes in volume can occur. Values beyond 10 cause no noticeable change in quality, but they increase processing time. Transition Width. Determines the amplitude range between noise and desirable audio. For example, a width of zero applies a sharp, noise gate to each frequency band. Audio just above the threshold remains; audio just below is truncated to silence.

Alternatively, you can specify a range over which the audio fades to silence based upon the input level. Determines how many individual frequency bands are analyzed.

This option causes the most drastic changes in quality. The noise in each frequency band is treated separately, so with more bands, noise is removed with finer frequency detail. Good settings range from to Fast Fourier Transform size determines the tradeoff between frequency- and time-accuracy. Higher FFT sizes might cause swooshing or reverberant artifacts, but they very accurately remove noise frequencies.

Lower FFT sizes result in better time response less swooshing before cymbal hits, for example , but they can produce poorer frequency resolution, creating hollow or flanged sounds.

Noise Print Snapshots. Determines how many snapshots of noise to include in the captured profile. A value of is optimal for producing accurate data. Very small values greatly affect the quality of the various noise reduction levels. With more snapshots, a noise reduction level of will likely cut out more noise, but also cut out more original signal. However, a low noise reduction level with more snapshots will also cut out more noise, but likely retain the intended signal.

This effect analyzes a selected portion of the recording, and builds a sound model, which is used to find and remove the sound. The generated model can also be modified using parameters that indicate its complexity. A high complexity sound model requires more refinement passes to process the recording, but provides more accurate results. You can also save the sound model for later use. Several common presets are also included to remove some common noise sounds, such as sirens and ringing mobile phones.

Learn Sound Model. Uses the selected waveform to learn the sound model. Select an area on the waveform that only contains the sound to remove, and then press Learn Sound Model. You can also save and load sound models on disc. Sound Model Complexity. Indicates the complexity of the Sound Model.

The more complex or mixed the sound is, the better results you\’ll get with a higher complexity setting, though the longer it will take to calculate. Settings range from 1 to Sound Refinement Passes. Defines the number of refinement passes to make to remove the sound patterns indicated in the sound model. Higher number of passes require longer processing time, but offer more accurate results.

Content Complexity. Indicates the complexity of the signal. Settings range from 5 to Content Refinement Passes. Specifies the number of passes to make on the content to remove the sounds that match the sound model. A higher number of passes require more processing time, but generally provide more accurate results.

Enhanced Supression. This increases the aggressiveness of the sound removal algorithm, and can be modified on the Strength value. A higher value will remove more of the sound model from mixed signals, which can result in greater loss of desired signal, while a lower value will leave more of the overlapping signal and therefore, more of the noise may be audible though less than the original recording. Enhance for Speech.

Specifies that the audio includes speech and is careful in removing audio patterns that closely resemble speech. The end result makes sure that speech is not removed, while removing noise.

Watch the video Sound removal and noise reduction strategies to see how you can reduce noise and remove unwanted sounds from your audio. Because this effect operates in real time, you can combine it with other effects in the Effects Rack and apply it in the Multitrack Editor.

By contrast, the standard Noise Reduction effect is available only as an offline process in the Waveform Editor. That effect, however, is sometimes more effective at removing constant noise, such as hiss or hum. For best results, apply Adaptive Noise Reduction to selections that begin with noise followed by desirable audio. The effect identifies noise based on the first few seconds of audio. This effect requires significant processing.

Reduce Noise By. Determines the level of noise reduction. To reduce bubbly background effects, enter lower values. Fine Tune Noise Floor. Signal Threshold. Manually adjusts the threshold of desirable audio above or below the automatically calculated threshold. Determines how quickly noise processing drops by 60 decibels. Values that are too short create bubbly sounds; values that are too long create a reverb effect. Broadband Preservation. Retains desirable audio in specified frequency bands between found artifacts.

A setting of Hz, for example, ensures that no audio is removed Hz above or below found artifacts. Lower settings remove more noise but may introduce audible processing. Choose a high setting to increase frequency resolution; choose a low setting to increase time resolution.

High settings work well for artifacts of long duration like squeaks or power-line hum , while low settings better address transient artifacts like clicks and pops. Watch the video Remove noise from audio files with Audition to see how you can reduce noise and remove unwanted sounds from your audio.

You can correct a large area of audio or a single click or pop. This effect provides the same options as the DeClicker effect, which lets you choose which detected clicks to address see DeClicker options. However, because the Automatic Click Remover operates in real time, you can combine it with other effects in the Effects Rack and apply it in the Multitrack Editor.

The Automatic Click Remover effect also applies multiple scan and repair passes automatically; to achieve the same level of click reduction with the DeClicker , you must manually apply it multiple times. Determines sensitivity to noise. Lower settings detect more clicks and pops but may include audio you wish to retain.

Settings range from 1 to ; the default is Indicates the complexity of noise. Higher settings apply more processing but can degrade audio quality.

Global Time Shift. Activates the Left and Right Channel Shift sliders, which let you apply a uniform phase shift to all selected audio. Align phase and panning for a series of discrete time intervals, which you specify using the following options:.

Time Resolution. Specifies the number of milliseconds in each processed interval. Smaller values increase accuracy; larger ones increase performance. Determines overall processing speed. Slow settings increase accuracy; fast settings increase performance.

Analysis Size. For the most precise, effective phase correction, use the Auto Align Channels option. Enable the Global Time Shift sliders only if you are confident that a uniform adjustment is necessary, or if you want to manually animate phase correction in the Multitrack Editor.

Such noise is common on recordings such as old vinyl records and on-location recordings. The effect dialog box stays open, and you can adjust the selection, and fix multiple clicks without reopening the effect several times. Detection and correction settings are used to find clicks and pops.

The detection and rejection ranges are displayed graphically. Detection graph. Shows the exact threshold levels to be used at each amplitude, with amplitude along the horizontal ruler x-axis and threshold level along the vertical ruler y-axis. Adobe Audition uses values on the curve to the right above 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.

Scan for All Levels. Scans the highlighted area for clicks based on the values for Sensitivity and Discrimination , and determines values for Threshold , Detect , and Reject. Five areas of audio are selected, starting at the quietest and moving to the loudest. Determines the level of clicks to detect. Use a lower value, such as 10, to detect lots of subtle clicks, or a value of 20 to detect a few louder clicks.

Detected levels with Scan for All Levels are always higher than with this option. Determines how many clicks to fix. Enter high values to fix very few clicks and leave most of the original audio intact.

Enter lower values, such as 20 or 40, if the audio contains a moderate number of clicks. Enter extremely low values, such as 2 or 4, to fix constant clicks. Scan for Threshold Levels. Maximum, Average, Minimum.

Determine the unique detection and rejection thresholds for the maximum, average, and minimum amplitudes of the audio. Set the threshold levels before you adjust the corresponding Detect and Reject values. Set the Average Threshold level to about three quarters of the way between the Maximum and Minimum Threshold levels.

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 Minimum Threshold level a bit. If a loud piece still has clicks, lower the Average or Maximum Threshold level. Clicks are very noticeable in very quiet audio, so quiet audio tends to require lower detection and rejection thresholds.

Second Level Verification Reject Clicks. Rejects some of the potential clicks found by the click detection algorithm. In some types of audio, such as trumpets, saxophones, female vocals, and snare drum hits, normal peaks are sometimes detected as clicks. If these peaks are corrected, the resulting audio will sound muffled. Second Level Verification rejects these audio peaks and corrects only true clicks.

Determines sensitivity to clicks and pops. Possible values range from 1 to , but recommended values range from 6 to Lower values detect more clicks. Start with a threshold of 35 for high-amplitude audio above dB , 25 for average amplitudes, and 10 for low-amplitude audio below dB.

These settings allow for the most clicks to be found, and usually all of the louder ones. If a constant crackle is in the background of the source audio, try lowering the Min Threshold level or increasing the dB level to which the threshold is assigned. The level can be as low as 6, but a lower setting can cause the filter to remove sound other than clicks. If more clicks are detected, more repair occurs, increasing the possibility of distortion. With too much distortion of this type, audio begins to sound flat and lifeless.

Determines how many potential clicks found using the Detection Threshold are rejected if Second Level Verification box is selected. Values range from 1 to ; a setting of 30 is a good starting point. Lower settings allow for more clicks to be repaired. Higher settings can prevent clicks from being repaired, as they might not be actual clicks. You want to reject as many detected clicks as possible but still remove all audible clicks.

If a particular sound becomes distorted, then increase the setting to keep repairs at a minimum. The fewer repairs that are needed to get good results, the better. Determines the FFT size used to repair clicks, pops, and crackle.

For some types of audio, however, you might want to enter a specific FFT size from 8 to A good starting value is 32, but if clicks are still quite audible, increase the value to 48, and then 64, and so on. The higher the value, the slower the correction will be, but the better the potential results.

If the value is too high, rumbly, low frequency distortion can occur. Fill Single Click. Corrects a single click in a selected audio range. Otherwise, settings of to work very well for filling in single clicks. Once a single click is filled, press the F3 key to repeat the action. You can also create a quick key in the Favorites menu for filling in single clicks. Pop Oversamples Width. Includes surrounding samples in detected clicks. When a potential click is found, its beginning and end points are marked as closely as possible.

The Pop Oversamples value which can range from 0 to expands that range, so more samples to the left and right of the click are considered part of the click.

If corrected clicks become quieter but are still evident, increase the Pop oversamples value. Start with a value of 8, and increase it slowly to as much as 30 or


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