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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.

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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.

They do not go into the red so it is safe to increase the gain by this amount. The Output meter goes into the red, which shows that the gain is too high and is overloading the output.

Also, try decreasing the level and listen to the results. Keep Audition open. Channel Mixer The Channel Mixer alters the amount of left and right channel signal present in the left and right channels.

Consider two possible applications: converting stereo to mono and reversing the left and right channels. It s currently set so that the left channel consists entirely of signal from the left channel. You ll convert this stereo signal into a monaural signal by having equal amounts of left and right channel signals in the left and right channels. When bypassed, the stereo image is wider. Now the signal is monaural.

Bypass and enable the Channel Mixer to verify. Click the L tab and set the L slider to 0 and the R slider to Now the left channel consists entirely of signal from the right channel.

Set the L slider to and the R slider to 0. Now the right channel consists entirely of signal from the left channel. When bypassed, the hi-hat is in the left channel. When enabled, it s in the right channel. DeEsser Audition s DeEsser reduces vocal sibilants ess sounds. De-essing is a three-step process: Identify the frequencies where sibilants exist, define that range, and then set a threshold, which if exceeded by a sibilant, automatically reduces the gain within the specified range.

This makes the sibilant less prominent. Sibilants are high frequencies. Look carefully at the spectrum and confirm that you see peaks in the range around Hz. When set to maximum Hz , you can still hear quite a bit of sibilance because this is higher than the sibilants frequency.

Similarly, when set to minimum Hz , the sibilants are above this range and are still audible. You ll find a sweet spot between and Hz that reduces sibilants. Now you ll hear only the sibilants.

Adjust the Center Frequency to hear the greatest amount of sibilants and the least amount of the voice, which will be around Hz. The Gain Reduction meter shows the sibilant range s attenuation. Dynamics processing With a standard amplifier, the relationship between the input and output is linear. In other words, if there s a gain of 1, the output signal will be the same as the input signal. If there s a gain of 2, the output signal will have twice the level of the input signal, whatever the input signal level may be.

A Dynamics Processor changes the relationship of the output to the input. This change is called compression when a large input signal increase produces only a small output signal increase and expansion when a small input signal increase produces a large output signal increase. Both can be present at the same time by expanding signals within one range of levels and compressing signals in a different 68 Lesson 4 Signal Processing.

The Dynamics Processor s graph shows the input signal on the horizontal axis and the output on the vertical axis. Expansion is less common; one application is to expand objectionable low-level signals like hiss to reduce their levels further. There are also many uses for both as special effects. In the following graph, as the input signal changes from dB to dB, the output changes from dB to only dB. As a result, the Dynamics Processor has compressed 60dB of input dynamic range into 5dB of change at the output.

But from dB to 0dB, the output changes from dB to 0dB. Therefore, the Dynamics Processor has expanded 40dB of input dynamic range into 95dB of output dynamic range. In the graph these ranges are given a segment number, and the area below the graph provides information about each segment: The segment number The relationship between output and input expressed as a ratio Whether the segment is an Expander or Compressor The Threshold range of levels where the expansion or compression takes effect The easiest way to become familiar with dynamics processing is to call up presets, listen to how they affect the sound, and correlate what you hear to what you see on the graph.

Note that you will need to turn down the Effects Rack s Output level with some of the more aggressive presets to avoid distortion. Choose the Default preset, which provides neither compression nor expansion. You ll hear how this brings down peaks and makes the sound less dynamic. Click in the middle of segment 1 e. Drag it up a little bit to around dB. Click on the line at dB and dB to create two more squares.

Click on the one at dB, and drag it down all the way to dB. This effect makes the drums sound more percussive.

P Note: Audition s Dynamics Processor is extremely sophisticated. Although you ve just experienced the basic concepts in the dynamics processing exercise, the Settings page allows for further customization and effects. Basic compression and expansion can solve most audio problems that need dynamics control, but please refer to the Audition documentation for detailed information on other Dynamics Processor parameters.

Bypass the dynamics processing, and you ll note that the signal is actually a little louder because compression has reduced the peaks. To compensate for this, click in the Dynamics Processor s Make-Up Gain parameter located just below the curve s horizontal axis.

By adding Make-Up gain, the processed signal is now a little bit louder. Don t close the file, and leave Audition open. For example, if you don t want an audio file to exceed a level of dB, yet there are some peaks that reach -2dB, set the limiter s Maximum Amplitude for dB and it will absorb the peaks so they don t exceed dB. This is different from simple attenuation which lowers the levels of all signals , because in this example of limiting, levels below dB remain untouched.

Levels above dB are compressed with an essentially infinite ratio, so any input level increase produces no output level increase above dB. This limiter also has an Input Boost parameter, which can make a signal subjectively louder.

Here s why: If you set the Maximum Amplitude to 0, you can increase the level of an input signal that already reaches the maximum headroom because the limiter will prevent it from distorting by clamping its output to 0.

Let s listen to how this affects a mix. Note that even if you add lots of boost, like 10dB, the output still doesn t go above In most cases the default is fine. With a fair amount of input boost, shorter Release settings even though they limit the signal more accurately produce a choppy effect. When using the Release Time slider, the rule of thumb is to set it for the most natural sound. With no look-ahead time, the limiter has to react instantly to a transient, which is not possible: It has to know a transient exists before it can decide what to do with it.

Look-Ahead alerts the limiter when a transient is coming, so the reaction can be instantaneous. Longer settings cause a slight delay through the effect, although in most cases this doesn t matter. The default setting is fine, but experiment with increasing the Look-Ahead Time slider if the transients sound mushy.

P Note: There s a point of diminishing returns with hard limiting. Past a certain amount of input boost, the sound will become unnatural. The level at which this will occur varies depending on the input signal source. With voice, you can usually get away with more boost than with a full mix of something like a band.

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