Using Adobe Audition

148 Pages·2011·10.28 MB·English

by  Adobe Systems Incorporated

Using
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ADOBE AUDITION CS5.5
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Legal notices
Legal notices
For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html.
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Contents
Chapter 1: What’s new
Chapter 2: Digital audio fundamentals
U nderstanding sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
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Digi tizing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Chapter 3: Workspace and setup
T Viewing, zooming, and naviga ting audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Customizing workspace s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Connecting to audio hardwar e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
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Customizing and saving applica tion settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
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Chapter 4: Importing, recording, and playing audio
Crea ting and opening files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
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Importing with the Fi les panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Supported import format s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
S Extracting audio fro m CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Navigating time and play ing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Recor ding audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
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Monitoring recording and playback lev els . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Chapter 5: Editing audio files
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Displaying audio in the Waveform Edit or . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Select ing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Copying, cutting, pasting , and deleting audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Visually fading and changi ng amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
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Working with mark ers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Inverting, reversing , and silencing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Analyzing phase, frequency , and amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
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Converting sample ty pes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Undo, redo, and history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
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Chapter 6: Applying effects
Shared effects contr ols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Applying effects in the Waveform Edit or . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Applying effects in the Multitrack Edit or . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Adding third-party plug- ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Chapter 7: Effects reference
Amplitude and compression effec ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Delay and echo effec ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Diagnostics effects (Waveform Edito r only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Filter and equalizer effec ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Modulation effect s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
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Contents
Noise reduction / restoration effec ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Reverb effec ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Special effect s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Stereo imagery effec ts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Time and pitch manipulation effect s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Chapter 8: Mixing multitrack sessions
Multitrack Editor overv iew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
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Basic track contro ls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Track routing and EQ contr ols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Arrang ing and editing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
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Lo oping clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Clip volume matching, fading, and mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
I Automating mixes with env elopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
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Chapter 9: Video and surround sound
Working with video applicat ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
T Importing video and worki ng with video clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
5.1 surr ound sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
S Chapter 10: Saving and exporting
Saving and export ing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Viewing and editing XMP metadat a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
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Chapter 11: Automating common tasks
Favorite s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
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Match volume acro ss multiple files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Batch proc ess files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Chapter 12: Keyboard shortcuts
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Finding and customizing short cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Default keyboard shortc uts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
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Chapter 1: What’s new
Note: Some features in the Windows version of Adobe Audition 3.0 are not available in CS5.5. Examples include CD
burning, MIDI, the metronome, some file formats and effects, clip grouping and time stretching, and control surface
support. For a complete list, see Adobe Audition 3.0 features replaced or not implemented in CS5.5.
O Adobe Audition CS5.5 brings the best features from Adobe audio products into a single cross-platform package, with
best-in-class editing and multitrack mixing tools, powerful audio sweetening options, and rock-solid performance.
Mac OS support Make the most of the multicore processing, native audio, and DSP power of Apple Macintosh
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High-performance audio engine Multitask efficiently with dramatically improved responsiveness on projects of all
I sizes. Open files up to three times faster. Simultaneously work on multiple multitrack sessions and audio files. Import
R and batch process files in the background while you continue to edit audio. Speed up effects on multiprocessor
systems.
Round-trip editing with video applications like Adobe Premiere Pro Tap into audio cleanup and processing tools
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directly from Adobe Premiere Pro with roundtrip editing and mixing. Exchange OMF and XML files with digital audio
workstations and non-linear editors like Avid Pro Tools and Apple Final Cut Pro. See “Working with video
applications” on pag e126 and “Export sessions to OMF or Final Cut Pro Interchange format” on page 133.
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Integrated 5.1 surround mixing and editing Mix 5.1 surround directly in the Multitrack Editor. The Track Panner
panel provides intuitive controls and visual feedback that help you locate sounds precisely in the surround field. Open
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5.1 mixdown files in the Waveform Editor to edit selected channels. See “5.1 surround sound” on pag e129.
Enhanced effects workflows Adjust effect parameters while making selections, playing back audio, or even applying
R complex noise reduction. Apply multitrack effects to individual clips. Expand audio processing possibilities with third-
party VST and Audio Units plug-ins. See “Applying effects” on page 57.
New effects Adobe Audition CS5.5 includes new effects ranging from Surround Reverb, optimized for 5.1 files, to a

suite of Diagnostics effects that correct common audio problems. For more information, see the following:
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(cid:129) “Surround Reverb effect” on pag e96
(cid:129) “Vocal Enhancer effect” on page 100
S (cid:129) “Speech Volume Leveler effect” on pag e72
(cid:129) “Single-band Compressor effect” on page 71
U (cid:129) “Diagnostics effects (Waveform Editor only)” on pag e76
(cid:129) “DeHummer effect” on pag e89
(cid:129) “DeEsser effect” on pag e65
(cid:129) “Chorus/Flanger effect” on page 82
(cid:129) “Phaser effect” on pag e84
Expanded library of royalty-free music beds and sound effects Kick-start your soundtrack with more than 10,000
royalty-free files available through the Resource Central panel. Quickly browse and preview files, then simply drag
from the panel to audio projects and produce layered, professional soundtracks.
Streamlined metadata workflow with Broadcast Wave support Simplify metadata editing and management with the
XMP-based Metadata panel. XMP support extends to the Broadcast WAV (BWF) format, enabling automated
workflows for radio and TV production systems. See “Viewing and editing XMP metadata” on pag e136.
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What’s new
Native XML session format Save multitrack sessions in the flexible XML format, a human-readable standard that
facilitates conversion to proprietary formats used by different manufacturers. Adobe Audition XML sessions can be
opened and edited in text editors, or created programmatically from scripts and other tools. See “Save multitrack
sessions” on pag e133.
Multitrack clip volume matching Easily mix audio from diverse sources. See “Match multitrack clip volume” on
page 119.
Multitrack audio analysis Analyze phase relationships and frequency response in real-time using the Phase Meter and
O Frequency Analysis panel. See “Analyze phase” on page 49 and “Analyze frequency range” on pag e50.
Simultaneous waveform and spectral views Evaluate audio amplitude and frequency with maximum precision. See
“View audio waveforms and spectrums” on page 35.
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Recordable favorites Store combinations of effects, fades, and amplitude adjustments, and quickly reapply them to
any file or selection in the Waveform Editor. See “Favorites” on pag e139.
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History panel Easily roll back edits and mixes to earlier states, comparing different effects processing, noise reduction,
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signal flow, and more. Recall your original settings with a single click. See “Undo, redo, and history” on pag e55.
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Chapter 2: Digital audio fundamentals
Understanding sound
Sound waves
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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
T push on the air molecules surrounding them, which push on the next set of molecules, and so on. As high-pressure
areas move through the air, they leave low-pressure areas behind them. When these waves of pressure changes reach
us, they vibrate the receptors in our ears, and we hear the vibrations as sound.
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When you see a visual waveform that represents audio, it reflects these waves of air pressure. The zero line in the
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waveform is the pressure of air at rest. When the line swings up to a peak, it represents higher pressure; when the line
swings down to a trough, it represents lower pressure.
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A 0
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A sound wave represented as a visual waveform
A. Zero line B. Low-pressure area C. High-pressure area
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Waveform measurements
Several measurements describe waveforms:
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Amplitude Reflects the change in pressure from the peak of the waveform to the trough. High-amplitude waveforms
are loud; low-amplitude waveforms are quiet.
Cycle Describes a single, repeated sequence of pressure changes, from zero pressure, to high pressure, to low pressure,
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and back to zero.
Frequency Measured in hertz (Hz), describes the number of cycles per second. (For example, a 1000-Hz waveform has
U 1000 cycles per second.) The higher the frequency, the higher the musical pitch.
Phase Measured in 360 degrees, indicates the position of a waveform in a cycle. Zero degrees is the start point,
followed by 90º at high pressure, 180º at the halfway point, 270º at low pressure, and 360º at the end point.
Wavelength Measured in units such as inches or centimeters, is the distance between two points with the same degree
of phase. As frequency increases, wavelength decreases.
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Digital audio fundamentals
A A
90º
0º 180º 360º
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B 270º
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A single cycle at left; a complete, 20-Hz waveform at right
A. Wavelength B. Degree of phase C. Amplitude D. One second
T How sound waves interact
When two or more sound waves meet, they add to and subtract from each other. If their peaks and troughs are perfectly
I in phase, they reinforce each other, resulting in a waveform that has higher amplitude than either individual waveform.
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In-phase waves reinforce each other.
If the peaks and troughs of two waveforms are perfectly out of phase, they cancel each other out, resulting in no
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waveform at all.
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Out-of-phase waves cancel each other out.
In most cases, however, waves are out of phase in varying amounts, resulting in a combined waveform that is more
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complex than individual waveforms. A complex waveform that represents music, voice, noise, and other sounds, for
example, combines the waveforms from each sound.
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Because of its unique physical structure, a single instrument can create extremely complex waves. That’s why a violin
and a trumpet sound different even when playing the same note.
Two simple waves combine to create a complex wave.
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USING ADOBE AUDITION 5
Digital audio fundamentals
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
O 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. When these voltage changes travel down a microphone wire, they
can be recorded onto tape as changes in magnetic strength or onto vinyl records as changes in groove size. A speaker
works like a microphone in reverse, taking the voltage signals from an audio recording and vibrating to re-create the
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pressure wave.
I Digital audio: zeroes and ones
R Unlike analog storage media such as magnetic tape or vinyl records, computers store audio information digitally as a
series of zeroes and ones. In digital storage, the original waveform is broken up into individual snapshots called
samples. This process is typically known as digitizing or sampling the audio, but it is sometimes called analog-to-digital
T conversion.
When you record from a microphone into a computer, for example, analog-to-digital converters transform the analog
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Understanding sample rate
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Sample rate indicates the number of digital snapshots taken of an audio signal each second. This rate determines the
frequency range of an audio file. The higher the sample rate, the closer the shape of the digital waveform is to that of
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the original analog waveform. Low sample rates limit the range of frequencies that can be recorded, which can result
in a recording that poorly represents the original sound.

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A
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B
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Two sample rates
A. Low sample rate that distorts the original sound wave. B. High sample rate that perfectly reproduces the original sound wave.
To reproduce a given frequency, the sample rate must be at least twice that frequency. For example, CDs have a sample
rate of 44,100 samples per second, so they can reproduce frequencies up to 22,050 Hz, which is just beyond the limit
of human hearing, 20,000 Hz.
Here are the most common sample rates for digital audio:
Last updated 11/7/2011
USING ADOBE AUDITION 6
Digital audio fundamentals
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 CD 0–22,050 Hz
O 48,000 Hz Standard DVD 0–24,000 Hz
96,000 Hz Blu-ray DVD 0–48,000 Hz
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Understanding bit depth
Bit depth determines dynamic range. When a sound wave is sampled, each sample is assigned the amplitude value
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closest to the original wave’s amplitude. Higher bit depth provides more possible amplitude values, producing greater
R dynamic range, a lower noise floor, and higher fidelity. For the best audio quality, remain at 32-bit resolution while
transforming audio in Audition, and then convert to a lower bit depth for output.
T Bit depth Quality level Amplitude values Dynamic range
8-bit Telephony 256 48 dB
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16-bit Audio CD 65,536 96 dB
24-bit Audio DVD 16,777,216 144 dB
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32-bit Best 4,294,967,296 192 dB
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192 dB
144 dB

96 dB
O
48 dB
0 dB
S 8-bit 16-bit 24-bit 32-bit
Higher bit depths provide greater dynamic range.
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Measuring amplitude in dBFS
In digital audio, amplitude is measured in decibels below full scale, or dBFS. The maximum possible amplitude is 0
dBFS; all amplitudes below that are expressed as negative numbers. As bit depth increases, the amplitude ruler in
Audition increases the decibel range below full scale, reflecting greater dynamic range.
Note: A given dBFS value does not directly correspond to the original sound pressure level measured in acoustic dB.
Audio file contents and size
An audio file on your hard drive, such as a WAV file, consists of a small header indicating sample rate and bit depth,
and then a long series of numbers, one for each sample. These files can be very large. For example, at 44,100 samples
per second and 16 bits per sample, a mono file requires 86 KB per second—about 5 MB per minute. That figure doubles
to 10 MB per minute for a stereo file, which has two channels.
Last updated 11/7/2011