Adobe AuditionWhat is Audition?| 00:00 | Adobe Audition is an application
used by audio and video professionals to
| | 00:04 | record, edit, mix, and
restore audio compositions.
| | 00:09 | Audio and video professionals use
Audition for visually fixing audio problems
| | 00:13 | like noise and clicks using healing
tools, mixing multiple tracks of dialog,
| | 00:18 | music, and sound effects, enhancing the
quality of audio by utilizing built-in
| | 00:23 | audio effects, and also adjusting
multiple audio clips simultaneously by using
| | 00:32 | Batch Processing Commands.
| | 00:34 | Audition gives you full control of
your audio compositions and allows you to
| | 00:38 | create crisp, dynamic compositions like this.
| | 00:41 | (music playing)
| | 00:49 | In addition to its
editing functionality, Audition also
| | 00:52 | integrates with Adobe Premiere Pro,
which allows you to easily edit audio within
| | 00:56 | your video projects.
| | 00:58 | In short, Adobe Audition provides you
with a set of tools that will allow you to
| | 01:02 | make your audio and video
projects sound their best.
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IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hello there. Welcome to this Audition training course.
I'm Maxim Jago, I'm a media technology
| | 00:11 |
specialist working with a wide range of
creatives around the world.
| | 00:16 |
This course is an introduction to the
power tools offered by Audition.
| | 00:20 |
You'll find you can easily work with a
multitude of file types in the new all 64
| | 00:25 |
bit application environment It has a
multi track editing environment with a
| | 00:30 |
virtual mixer, track based controls and
effects, and a non destructive effects racd.
| | 00:36 |
Plus it has extraordinary audio
adjustment and correction tools.
| | 00:40 |
(MUSIC) In a dedicated wave form editing
environment.
| | 00:42 |
You can clean up audio in a variety of
ways including by picking out a sound
| | 00:52 |
with the Photoshop style brush tool and
having Audition intelligently extract it,
| | 00:57 |
or work with pitch (MUSIC) and playback
speed adjustments in multiple, flexible ways.
| | 01:03 |
By the end of this course you'll be ready
to analyze and clean up audio.
| | 01:07 |
Work with effects and create complex
audio compositions using Audition
| | 01:11 |
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1. Introducing Adobe Audition CCMeeting 64-bit Adobe Audition| 00:00 |
This is Adobe Audition.
It is a 64-bit application now, which
| | 00:06 |
means that it'll only work on a truly
64-bit operating system.
| | 00:11 |
And it'll only support 64-bit VST files.
The benefit of being 64-bit, is that it
| | 00:19 |
maximizes the use of resources your
computer has to offer.
| | 00:23 |
In particular, it maximizes the use of
system memory or RAM.
| | 00:26 |
A 32-bit application, which is until
recently the historical standard for
| | 00:31 |
computing, can only really work with up
to 3 gig of memory, which is quite a lot,
| | 00:36 |
it has to be said.
But if you're working with really large
| | 00:39 |
sessions in Audition, you may find that
you start to hit the limit and then the
| | 00:43 |
performance begins to drop.
So it's quite a big deal that this
| | 00:45 |
application is now 64-bit.
For new users it must be acknowledged
| | 00:51 |
that Audition can begin to look like a
wall of buttons.
| | 00:54 |
You see we've got different parts of the
interface here, they're not very strongly delineated.
| | 00:59 |
However, if I click into any of these
panels, we begin to get an orange outline
| | 01:04 |
to show us which panel we're working
with.
| | 01:07 |
Audition is a software application like
any other.
| | 01:10 |
You install it on your system and it
works Mac or PC, exactly the same.
| | 01:14 |
And the files that it works with are
perfectly compatible between those two
| | 01:18 |
operating systems.
In many ways, Audition is like two
| | 01:22 |
applications in one.
Right now, I'm up in this Multi-track
| | 01:26 |
view which gives me access to a
Multi-track Session Editor, here we are,
| | 01:32 |
where I can have multiple lines of audio,
multiple lanes if you like.
| | 01:36 |
Each different track here with a
different piece of sound on it and they
| | 01:39 |
combine to produce a mix.
If I click on the Play button here you
| | 01:44 |
can hear a little of this.
(MUSIC).
| | 01:49 |
Click Stop, and again this behaves very
much like any kind of playback system but
| | 01:54 |
I'm hearing multiple pieces of audio
combined.
| | 01:57 |
It's a pretty advanced interface.
If I Zoom In with my mouse I can scroll
| | 02:02 |
and get access to multiple additional
controls.
| | 02:05 |
And like many things, when you first see
these, it can be a bit overwhelming.
| | 02:09 |
It's just a huge amount of new
information.
| | 02:11 |
But once you know what each of these
controls are for, it's very simple
| | 02:14 |
because every track is a copy of the next
one.
| | 02:17 |
All of the controls here are the same as
all of the controls here.
| | 02:21 |
It's perhaps helpful if you think of the
interface as being split into 2 modes.
| | 02:26 |
And, in fact, it's 2 halves.
Right now, I'm in the Multi-track mode.
| | 02:30 |
The right hand half is showing me my
Multi-track Session Editor.
| | 02:34 |
And at the bottom, I've got levels,
meters and some timing information.
| | 02:38 |
If I click to switch over to the Waveform
display, the left half of the screen
| | 02:42 |
pretty much stays the way it is.
The right half changes to show me an
| | 02:46 |
individual audio file.
And I can see this in Audition both as a
| | 02:50 |
classic Waveform.
So the bigger the spikes the louder the
| | 02:53 |
sound is and time goes from left to right
just as it does, for what it's worth, in
| | 02:57 |
the Multi-track Session Editor.
But I also have this spectral frequency
| | 03:02 |
display and this is showing me the
amplitude information for different frequencies.
| | 03:07 |
It's very beautiful, but it's given me
also very important information about
| | 03:11 |
where the loudest parts of the sound are
in terms of frequency.
| | 03:15 |
Up at the top is high frequency, down
near the bottom is low notes.
| | 03:19 |
And I can use this information to work on
my audio, clean up sounds and make adjustments.
| | 03:24 |
So when working with Adobe Audition,
you're likely to be switching between
| | 03:29 |
these modes quite a lot.
Organizing your media on the left,
| | 03:32 |
working on your files on the right.
You'll notice along the top we've got
| | 03:36 |
File, Edit, Multi-track.
Several menus with additional options on
| | 03:39 |
them but most of the time you'll be
working just with the buttons in the main
| | 03:43 |
part of the interface.
Notice also along the top here, we have
| | 03:46 |
some specific tools for working on our
audio.
| | 03:49 |
For example I can select a Brush tool.
Let me just re-size a bit.
| | 03:53 |
I can select an area within my spectral
frequency display and just work on those
| | 03:58 |
particular frequencies.
So I'm making very precise adjustments to
| | 04:02 |
my audio.
You'll use Adobe Audition to work on
| | 04:06 |
audio and add special effects.
There's a whole range of effects you can
| | 04:10 |
apply; clean up audio, shift the pitch,
change the duration and more.
| | 04:15 |
In the multi-track mode, you'll combine
those audio files to produce music
| | 04:20 |
compositions, soundtrack for films or
even just things like clean voice-over
| | 04:25 |
with background sounds.
When you're working in the Waveform view,
| | 04:29 |
the changes that you make are
destructive.
| | 04:32 |
That means that you'll actually be
modifying the files on your hard drive.
| | 04:37 |
This is why it's common practice to Save
As a lot.
| | 04:39 |
That means saving a copy of the file
you're working on in a different file, so
| | 04:44 |
you've got the original as a backup if
you need it.
| | 04:47 |
That's the Waveform view, it's
destructive.
| | 04:49 |
In the Multi-track view, everything you
do is non-destructive.
| | 04:53 |
You can still do things like change the
amplitude of your audio, add special effects.
| | 04:58 |
You've got a whole range of effects, the
same ones as you have in the Waveform
| | 05:01 |
Display but they're real time.
That means that your CPU is doing the
| | 05:06 |
work during playback which is not always
easy to do.
| | 05:09 |
It depends on how powerful your machine
is.
| | 05:11 |
And you may find that, depending on the
speed of your computer, there's a limit
| | 05:15 |
to the number of effects that you can
apply or the number of tracks of audio
| | 05:19 |
that you can play simultaneously.
So Audition is a comprehensive
| | 05:23 |
professional post production audio
editing system.
| | 05:26 |
It also provides direct to disk recording
allowing you to record onto multiple
| | 05:31 |
tracks simultaneously if you want to,
provided you have the right hardware.
| | 05:35 |
As well as being professional and having
all of these advanced controls, Audition
| | 05:39 |
has that finesse that Adobe applications
all have.
| | 05:43 |
You can really tell that Adobe worked
hard to make this an intuitive user
| | 05:47 |
experience, and also to maintain the
design motifs that are standard across
| | 05:52 |
all of the Adobe Creative applications.
So there it is, Adobe Audition.
| | 05:57 |
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| Comparing audio file and multitrack session workflows| 00:00 |
Let's take a look at some of the key
areas of the Adobe Audition interface.
| | 00:05 |
First of all we've got file added
multitrack, a lot of these have
| | 00:09 |
functionality but is repeated in the
buttons in the interface.
| | 00:13 |
So my advise is to go looking for button
near the thing you want to do, first of all.
| | 00:17 |
We've got this mode switch between the
waveform mode and the multitrack mode.
| | 00:21 |
And you'll notice, depending on the mode
you're in, different tools become
| | 00:24 |
available because they're relevant to the
work that you're doing.
| | 00:27 |
Top left here, we've got a files panel.
And this includes all of the files that
| | 00:31 |
you may or may not choose to work on, or
include in a multitrack session.
| | 00:36 |
This panel is persistent along with a lot
of other panels in the interface when you
| | 00:39 |
switch between the modes.
Now, the files that you import here are
| | 00:43 |
not really moved anywhere.
You're really just linking to them on
| | 00:46 |
your original hard drive.
So do be a little bit careful about where
| | 00:50 |
your media is before you bring it into
audition.
| | 00:53 |
You will have trouble, for example, if
you import audio from a CD with data on
| | 00:57 |
it because you won't be able to write to
the disk, and you're going to end up
| | 01:00 |
making copies.
Over on the right, I've got my editor.
| | 01:03 |
At the moment, I'm in multitrack mode,
which means I'm seeing multiple layers of
| | 01:07 |
audio with different clip segments all
laid out.
| | 01:10 |
With time moving left to right ready for
me to playback and work on my session.
| | 01:15 |
If I switch to the waveform view, I get
an individual sound file laid out as a
| | 01:20 |
waveform again with time from left to
right.
| | 01:22 |
And in both cases, I have a navigator at
the top.
| | 01:25 |
And also in this special spectral
frequency display along the bottom.
| | 01:29 |
Notice in both cases I've got playback
controls and zoom controls along the
| | 01:33 |
bottom as well.
Level meters and some time information,
| | 01:37 |
so my selection, my view, and so on.
You'll notice that, at the top here, I've
| | 01:42 |
got a workspace menu.
And you can access this under the window
| | 01:46 |
menu as well.
The workspace menu allows me to jump
| | 01:50 |
between some standard layouts for the
application, and these are all preset
| | 01:55 |
layouts that Adobe felt might be useful,
depending on the kind of work you're doing.
| | 01:59 |
You've got a mastering analysis one here,
maximum editing if you're working with
| | 02:04 |
your monitors, which I'm not.
So, half my stuff's disappeared off
| | 02:07 |
screen and radio production, and so on,
and so on.
| | 02:10 |
The important thing about this, for the
purposes of learning Audition, I think is
| | 02:15 |
to know how to get back to default and
how to reset.
| | 02:18 |
Go to the Reset option at the bottom of
the list.
| | 02:20 |
Say yes, I want to reset and everything
will go back to the way it should be.
| | 02:24 |
You can, of course, also create new work
spaces of your own.
| | 02:28 |
That's particularly useful if you are
working on a jewel monitor system, and
| | 02:31 |
the monitors don't have the same
resolution.
| | 02:33 |
You can configure things to just fit the
resolution you've got available.
| | 02:37 |
Over in the files panel, I have a quick
search box, a little filter box, where I
| | 02:41 |
can begin to type in the name of
something I want to be displayed, and
| | 02:45 |
everything else will be hidden.
So for example, here I've got these
| | 02:48 |
strings MP3s.
If I start to type String, I don't even
| | 02:53 |
need to write the whole word.
Anything that does not match the series
| | 02:56 |
of letters is automatically hidden.
Now, one warning I would give you about
| | 03:00 |
using this feature, is you'll notice I
get very very little indication that it's
| | 03:05 |
being applied.
If, for example, I go back a couple of
| | 03:08 |
letters, well look now, I just got three
items on show in my files panel.
| | 03:13 |
And the only indication that anything is
being hidden.
| | 03:16 |
Is that I've got ST in this little box up
on the right.
| | 03:19 |
So be sure to check this sometimes and
clear the box.
| | 03:22 |
Notice that here I've got a little
drop-down menu where I can choose recent searches.
| | 03:26 |
I'll just click the cross to clear that.
Down below the files panel I've got a
| | 03:30 |
media browser that allows me to check the
contents of my hard drives.
| | 03:34 |
You notice here I've got all of the
drives on my machine, and several
| | 03:38 |
different bits of audio in different
locations.
| | 03:40 |
The purpose of the browser is to allow me
to just listen to and check my audio
| | 03:45 |
before I necessarily bring it into my
files panel to work with.
| | 03:49 |
So it's just a way of locating content on
your machine.
| | 03:51 |
I have an effects rack that appears in
both modes as well.
| | 03:55 |
And this allows me to put up to 16
effects on a single clip, or on a track
| | 04:00 |
for that matter, and work on them
non-destructively and combine them and
| | 04:04 |
produce a composite special effects
result.
| | 04:07 |
I've got a markers panel that allows me
to add, and remove, and work with markers
| | 04:13 |
on my timeline.
I can use these both in the waveform view
| | 04:17 |
and in the multitrack view, and they're
just a good way of finding your way
| | 04:20 |
around your media.
But they can also be used to define
| | 04:23 |
regions for specific tracks on a CD if
you decide to burn a CD based on your audio.
| | 04:29 |
The Properties panel is more than just
information.
| | 04:33 |
If I select an item here, in my
multitrack session, for example.
| | 04:37 |
I've got information about the file type,
the path to the original file.
| | 04:40 |
That's the location on the hard drive,
clips start time, and so on.
| | 04:44 |
And if I scroll down a little bit.
I've also got the option to extend the
| | 04:49 |
duration of the clip.
It's called stretching in Adobe edition.
| | 04:52 |
So I can make it play back in slow motion
or fast motion.
| | 04:55 |
I can also specify things like a clip
color.
| | 04:58 |
There we go.
And I can lock it in location, turn it
| | 05:02 |
into a loop and so on.
I can also adjust the Gain Fuller Clip.
| | 05:05 |
So quite a lot of controls in this
properties panel.
| | 05:08 |
If I re-size a little bit, you'll see
I've got a history list just like Photoshop.
| | 05:13 |
I've got a list of things I've done.
And I can step back in time if i want to.
| | 05:18 |
And I've got a video panel so if I'm
producing a mix to picture.
| | 05:22 |
I can view the video here and in fact
Audition makes use of the Adobe media
| | 05:26 |
call for playback, which in a nutshell,
means really good quality video playback.
| | 05:30 |
It's very smooth and easy to use.
There are a number of additional panels
| | 05:36 |
available inside Audition, and if you
want to hunt for them look under the
| | 05:40 |
Window menu.
But these are the key panels that you
| | 05:44 |
have been working with day-in and day-out
in the interface.
| | 05:47 |
| | Collapse this transcript |
| Additional panels| 00:00 |
Audition has a number of additional
panels that I just thought it'd be worth
| | 00:05 |
taking a moment to skim over to build up
your familiarity with the interface.
| | 00:10 |
Again with it being such a complex
looking interface, especially when we're
| | 00:14 |
on this relatively low resolution screen.
I just wanted your attention to this
| | 00:18 |
yellow outline.
This yellow outline highlights which
| | 00:22 |
panel you are currently looking in.
And an individual panel can be sharing a frame.
| | 00:28 |
See this dark black line around here?
This is a frame and inside of it I've got
| | 00:33 |
four panels in fact.
I've got my media browser for browsing my
| | 00:35 |
hard drive.
My list of effects in the effects rack.
| | 00:38 |
Markers for putting temporal marks on my
media to find my way around it and the
| | 00:43 |
properties for the things I click on.
So if we look under the Window menu,
| | 00:48 |
you'll notice there are quite a lot of
items on the list that don't have a tick
| | 00:51 |
next to them.
The items with the tick are the ones that
| | 00:55 |
are currently on screen.
But if you look closely, you'll notice
| | 00:57 |
that Markers, it is here, but it's hidden
behind the Properties panel.
| | 01:01 |
So there's no tick next to it.
If I choose it, you see Markers comes to
| | 01:04 |
the foreground.
But it is there really, in my mind, if
| | 01:07 |
the panel has its tab on view then it's
kind of in the interface.
| | 01:11 |
But there are some that aren't
necessarily that visible.
| | 01:13 |
You'll notice down at the very bottom of
the screen here, well in fact, right
| | 01:16 |
along the bottom edge, I've got an
information panel that's currently
| | 01:19 |
telling me my playback is stopped.
I can kind of work that out from the
| | 01:22 |
playhead not moving.
I've also got information about the
| | 01:25 |
sample rate and bit depth for the session
that I'm working on.
| | 01:29 |
I've also got an indication of the total
uncompressed audio size.
| | 01:34 |
This is, I suppose, how much memory is
being taken up by this session.
| | 01:37 |
It's a little bit like Photoshop where
you get information about the image
| | 01:40 |
you're looking at.
I've also got information about the total
| | 01:43 |
duration for this session and how much
free space I have on the drive the
| | 01:48 |
session is stored on.
Remember, a multi-track session in
| | 01:51 |
Audition is a file, too, like any other.
If I just re-size the panel a little, and
| | 01:57 |
pull it up, you can see that right at the
bottom I've got a history panel, which
| | 02:00 |
gives me a list of things I've done that
I can click.
| | 02:03 |
I can type.
I've also got a video panel.
| | 02:06 |
And Audition shares the media core that
Adobe uses for other applications like
| | 02:11 |
Premiere Pro and After Effects.
This particular session has video in it.
| | 02:15 |
If I just zoom in a little bit, you can
see I've got a few clips here taken from
| | 02:19 |
a Premiere Pro sequence.
And you can have that video on screen.
| | 02:24 |
In fact, if I press the, well it's the
tilde key on my keyboard, technically
| | 02:28 |
it's the grave key.
And the location on your keyboard will
| | 02:32 |
vary from keyboard to keyboard.
But it does let me go full screen, with this.
| | 02:37 |
And if I want to I can now press the
space bar to play, and I can get full
| | 02:41 |
screen video, which is pretty useful.
I'm just going to toggle that key again.
| | 02:45 |
So there are some panels that are kind of
half visible, half not visible in the
| | 02:49 |
interface but if I go up to the Window
menu there are a few that won't be on
| | 02:53 |
screen as part of the original work
space.
| | 02:56 |
For example we have this Amplitude
Statistics panel which is incredibly useful.
| | 03:01 |
If I go into my session here, for
example, and perhaps just double click on
| | 03:06 |
one of these.
Let's pick up, let's double click on this
| | 03:09 |
keys piece of audio.
And double click on that to open it in
| | 03:12 |
the waveform editor.
Now I'm doing this a little bit in the
| | 03:16 |
background, but you see I've got my
waveform view and my multi-track view.
| | 03:20 |
I'm in the waveform view now looking at
the item I've just double clicked on.
| | 03:24 |
And here I've got a little scan button,
so if I click scan, Audition's going to
| | 03:28 |
to analyze the audio and it's going to
give me a ton of information about it.
| | 03:32 |
Now, you can work your way down this
list, but you can see I've got my Peak
| | 03:36 |
Amplitude, which is the loudest part of
any section of this audio, I've got Total
| | 03:41 |
RMS, even the Dynamic Range, so the
difference between the loudest and the
| | 03:45 |
quietest parts of the audio.
So lots of information.
| | 03:49 |
I've got a little graph that shows me how
much of my audio is above or below a
| | 03:53 |
certain amplitude in decibels on the
bottom edge here.
| | 03:56 |
I've got some settings to define the way
that audio is measured, so that's the
| | 04:00 |
Amplitude Statistics panel.
I've also got a dedicated loudness meter.
| | 04:05 |
Now you won't be able to find this in the
Window menu, and we'll be covering it in
| | 04:09 |
another lesson.
But you get access to this loudness
| | 04:12 |
meter, in fact, under the effects list
and here under the special menu.
| | 04:17 |
You see we've got a loudness radar meter.
This is the TC electronic radar meter
| | 04:23 |
plug-in, and it gives us an overview of
the total loudness for our audio.
| | 04:28 |
This is particularly important if you're
working on broadcast audio because
| | 04:32 |
broadcast television internationally now
is taking on new standards and you must
| | 04:36 |
have a way of measuring your loudness.
This is a little bit different from the
| | 04:41 |
regular decibel scale that most people
are familiar with.
| | 04:45 |
Another favorite panel of mine is the
frequency analysis panel, which gives us
| | 04:50 |
a beautiful graph that indicates the
amplitude at different frequencies.
| | 04:55 |
This is really useful for identifying
problems, but also for spotting a gap in
| | 04:59 |
the frequencies that have been used.
So you can perhaps add an instrument to
| | 05:02 |
the mix or even adjust the tonal range of
your vocals to fit that gap.
| | 05:06 |
Here I've got decibels on the right, and
frequency along the bottom to indicate.
| | 05:11 |
You can see, this is actually pretty
level across the frequency range.
| | 05:15 |
Another useful panel that's not there by
default is Time.
| | 05:19 |
So if I just bring this up, you see I'm
just getting exactly the same thing as I
| | 05:23 |
have at the bottom left hand corner of
the editor panel but in big numbers.
| | 05:27 |
So it's a little bit easier for you to
interact with your application at a distance.
| | 05:31 |
I like big numbers, it makes it easier
for me to see what's going on.
| | 05:35 |
So there are a few of the additional
panels that are available in Adobe
| | 05:40 |
Audition that you may not use all the
time, but you access them mainly through
| | 05:45 |
the Window menu when you need them.
| | 05:47 |
| | Collapse this transcript |
| Setting up audio hardware input and output| 00:00 |
When you first install Adobe Audition
there's a good chance that the audio
| | 00:04 |
hardware configuration will be pretty
much okay for playback.
| | 00:08 |
And that means you'll have a piece of
audio in Audition, you'll hit Play and
| | 00:11 |
you'll hear it, so that's a good sign,
but it's also possible you'll hear
| | 00:15 |
nothing at all, so let's talk a little
bit about setting up the input or output
| | 00:18 |
for the hardware on your machine...
Now, I'm on a PC so the menu I need is
| | 00:23 |
under the Edit menu, I'm going to Edit >
Preferences > Audio Hardware.
| | 00:27 |
If you're working on a Mac it's the same
menu but you'll find it under the Adobe
| | 00:31 |
Audition menu.
Here I'm in Audio Hardware and notice at
| | 00:35 |
the top the first thing I need to choose
is my Device Class.
| | 00:39 |
Now in this latest release of Adobe
Audition, we've got access to the WASAPI
| | 00:43 |
driver, which is new Windows method for
talking to sound devices.
| | 00:48 |
Now you'll notice that when I switch my
device class, I'm getting a warning
| | 00:52 |
message saying 'Well, hold on a second.
This could affect playback and recording
| | 00:55 |
of existing work that I'm doing in
Audition'.
| | 00:59 |
But of course I'm not doing anything yet,
so I'll just click Yes and continue.
| | 01:01 |
And you can check this box to not see
this display again.
| | 01:04 |
The device class that you'll choose is
partly going to be based on preference
| | 01:09 |
but partly based on the installation of
you hardware.
| | 01:12 |
In this case, for example, I'm working
with makionix hardware that allows me to
| | 01:17 |
record my voice at the same time its
playing back and so on.
| | 01:19 |
And I've got limited options depending on
that hardware.
| | 01:22 |
You'll choose your class, and the options
will be dependent on the installation of
| | 01:27 |
your hardware, but also on your operating
system.
| | 01:31 |
Here I am on a Windows machine.
If you are on a Mac you're going to have
| | 01:35 |
a slightly different menu here.
You'll probably have the core audio
| | 01:38 |
option and nothing much else.
Apart from that you'll find that the
| | 01:42 |
options are pretty similar.
Between the two operating systems.
| | 01:46 |
Now you're going to choose your
particular device, in this case I'm
| | 01:49 |
choosing the only sound card I've got,
and then you're going to choose some
| | 01:52 |
specific settings for that card, which
you'll notice this option comes up as a
| | 01:56 |
system dialogue box rather than an
Audition one.
| | 01:59 |
Again, I'm on Windows so I'm getting
Windows dialogue, on Mac OS you get the
| | 02:03 |
audio devices preference.
So you've got some specific settings here.
| | 02:06 |
And the one I want to draw your attention
to is the buffer size.
| | 02:10 |
Now the sample rack is very important
too.
| | 02:12 |
I'll get to that in a moment, but you
generally want the buffer size to be the
| | 02:15 |
lowest possible without having dropouts
in your audio.
| | 02:19 |
And there's a little bit of trial and
error here, I'm afraid.
| | 02:21 |
There's no golden setting that is just
going to work.
| | 02:25 |
The default in this case on my Mackie NXI
is 128.
| | 02:28 |
That's probably OK, but if you have the
time Just have a go at dropping this down
| | 02:33 |
as small as you can possibly go.
Listen to a piece of audio and just make
| | 02:37 |
sure that it's, it's not dropping out,
it's sounding okay.
| | 02:40 |
Doing this reduces the latency for
playback, and the smaller the latency,
| | 02:45 |
that's the smaller the delay between
playback inside the computer and hearing
| | 02:49 |
the audio on your speakers, the better.
Again, you may need to play around with it.
| | 02:53 |
The call audio option on Mac OS is fine,
on Windows, you're probably going to want
| | 02:58 |
to choose ASIO over the MME option.
The ASIO option allows audition to
| | 03:04 |
directly control your audio hardware
instead of the latency adding
| | 03:08 |
interference in the operating system, so
Windows doesn't have to get involved.
| | 03:12 |
We also now have this (INAUDIBLE) option
which again is just a new version of that
| | 03:17 |
direct control mechanism.
Notice that we have this option to
| | 03:20 |
release the ASIO driver in the background
if we're in that mode.
| | 03:23 |
If we've got ASIO selected, we are
directly controlling your sound card.
| | 03:28 |
And if you want to switch to another
application, and that means putting
| | 03:32 |
Audition in the background as far as your
operating system is concerned, you need
| | 03:35 |
to get Audition to release the hardware.
For that other application to use it.
| | 03:39 |
So taking this box will make that work if
you don't take this box switching to
| | 03:44 |
another application you'll just get
silence.
| | 03:46 |
And here we've got a very useful new
option in audition when you're working
| | 03:50 |
with audio you're going to have a
specific sum per array, that's the number
| | 03:54 |
of slices in time if you like the number
of measurements of amplitude or.
| | 04:00 |
Add pressure I suppose per second.
And you generally want the sample rate
| | 04:04 |
setting for your hardware sound card to
match the sample rate of the document
| | 04:09 |
you're working on.
Whether that is a multi-track session or
| | 04:12 |
an audio file.
And historically you've had to change the
| | 04:16 |
sample rate manually in your hardware
settings.
| | 04:20 |
But now we've got this tick box to
attempt to force the hardware to the
| | 04:24 |
document sample rate.
And this means that although you might
| | 04:26 |
find this, a little delay while your
hardware switches over from one sample
| | 04:30 |
rate to another.
It should happen automatically in the
| | 04:33 |
background, when you open up different
documents in Audition.
| | 04:37 |
The net effect of this is that, for
example.
| | 04:40 |
If you're working on a 44,000 100 Hertz
audio file, which is what music CDs are,
| | 04:46 |
and your audio hardware is set the same
you'll have a nice match between the
| | 04:50 |
audio measurements, the audio samples
inside audition and the output to your speakers.
| | 04:55 |
If these two don't match you may find you
just don't get any audio at all.
| | 04:59 |
Or you may find that you get some, let's
call it audio weirdness, some less than
| | 05:04 |
clean playback as your hardware trys to
resample on the fly.
| | 05:08 |
Notice also if I switch over to MME or
WASAPI, I've got a latency control right
| | 05:14 |
here inside audition.
Again, push this as low as you can go
| | 05:17 |
without getting audio dropout.
Because it means that you get that more
| | 05:21 |
direct relationship between the play
head, playback inside audition and the
| | 05:25 |
output to your speakers.
Now I'm conscious that this lesson sounds
| | 05:28 |
a little bit vague and for that I can
only apologize, because the setting she
| | 05:33 |
choose in this menu very very much depend
upon the heart we have installed and the
| | 05:37 |
drivers you have it installed with if
you're using professional audio hardware.
| | 05:41 |
You find you get more options here than
you do with consumer hardware.
| | 05:45 |
The important thing to take from this
lesson is, if you find that you are not
| | 05:48 |
getting the audio playback that you want.
Go to the Edit menu, and Preferences on
| | 05:53 |
Windows or the Audition menu on
Preferences in Mac OS, and check out your
| | 05:57 |
audio hardware settings.
| | 05:59 |
| | Collapse this transcript |
| Setting up audio channel mapping| 00:00 |
If your audio hardware has multiple
inputs and outputs, there's a way to
| | 00:04 |
instruct Audition.
So that it knows which channels for
| | 00:07 |
playback inside the application are
output to which channels in your
| | 00:10 |
hardware, and for input as well.
So I'm going to go to the Edit menu here
| | 00:14 |
and choose Preferences, and Audio Channel
Mapping.
| | 00:17 |
This is under the Audition menu in Mac
OS.
| | 00:21 |
And this interface is pretty
straighforward.
| | 00:23 |
At the top, I've got my Default Stereo
Input, and then at the bottom, I've got
| | 00:27 |
my Output.
You can see I'm using a Mackie Onyx sound
| | 00:30 |
device here, and I've just got this set
with Channels 1 and 2.
| | 00:34 |
Now, my set up is perhaps a little bit
different because I'm using my hardware
| | 00:38 |
both for input and output at the same
time, so I can record these lessons.
| | 00:42 |
But notice over to the right here, I've
got a little triangle.
| | 00:44 |
Which is actually a pretty important
menu.
| | 00:46 |
And in here, I can choose when recording
audio in via my hardware, which channel
| | 00:53 |
is which.
Which one I'm going to use.
| | 00:54 |
You see now, I've completely ruined it
and set it to have both of my File
| | 00:59 |
Channel, one and two, left and right, as
it were.
| | 01:01 |
to be my Channel two from my hardware.
If I had eight channels of audio here,
| | 01:05 |
I'd have eight options on the list.
And you notice here for Output that's
| | 01:10 |
kind of more the direction we're going.
I've got tons of Output options here
| | 01:14 |
available and these are my File Output
Channels.
| | 01:17 |
And you can see, for example, right near
the top of the list here, I've got my
| | 01:22 |
left, right, center, low-frequency
effects and so on for SurroundSound.
| | 01:26 |
But in fact my hardware just has two
audio channels for Output, and if I click
| | 01:31 |
on the menu again, I can specify what
those will be.
| | 01:34 |
So this is really for the purposes of
monitoring.
| | 01:37 |
If you have your audio monitors set up
and they're correctly positioned, and you
| | 01:42 |
know which is which.
Then you can configure this menu, so that
| | 01:45 |
when you press play in Audition, again
particularly if you're working with 5.1
| | 01:49 |
surround audio.
When things are due to come from your
| | 01:53 |
send to speaker, that's exactly what
happens.
| | 01:55 |
So again to get access to this menu, go
to Edit > Preferences, and Audio Channel Mapping.
| | 02:00 |
Or on Mac OS, under the Audition menu to
Preferences and Audio Channel Mapping.
| | 02:05 |
| | Collapse this transcript |
|
|
2. Important Audio TerminologyUnderstanding frequency| 00:00 |
Before we really get into using Audition,
let's start out by making sure we're
| | 00:06 |
completely clear about some of the core
concepts associated with audio.
| | 00:11 |
How it is that we hear sounds, and why
they sound different from one another.
| | 00:15 |
There aren't that many concepts for us to
understand.
| | 00:19 |
Essentially we have frequency, we have
amplitude, and we have phase.
| | 00:25 |
And let's start out by talking about
frequency.
| | 00:27 |
When a sound's created, it travels
through a medium, and for us, usually
| | 00:32 |
that medium is air.
The sound travels through the air via
| | 00:36 |
changes in air pressure in the form of
waves.
| | 00:38 |
And what's really happening here is air
particles are bouncing into each other in
| | 00:43 |
a line, one after another, after another.
It's almost like a domino effect.
| | 00:47 |
Now, when those waves hit your ear drums,
it makes your ear drum vibrate, and your
| | 00:51 |
ear drum turns that into electricity, and
that gets through to your brain, and your
| | 00:54 |
brain interprets it as sound.
The precise timing of these waves of
| | 01:00 |
pressure hitting your eardrum is what we
refer to as frequency, and frequency is
| | 01:05 |
usually measured in hertz, and that's
abbreviated to Hz usually.
| | 01:11 |
Hertz is technically cycles per second,
so that's how many times per second
| | 01:16 |
something happens.
You can apply it to almost anything.
| | 01:19 |
And the more cycles per second, the more
waves per second that hit your eardrum,
| | 01:24 |
the higher the pitch, the sound, will be.
So lots of cycles per second, high tones,
| | 01:29 |
not so many cycles per second, low tones.
To give you a point of reference, the
| | 01:34 |
lowest C on a piano registers at around
32 hertz.
| | 01:39 |
32 cycles per second.
And the highest note on a piano it's
| | 01:44 |
about 4,186 hertz.
And that makes 4.186 kilohertz.
| | 01:51 |
Any time you put kilo in the front of
anything, it just means thousands of this.
| | 01:55 |
It's important to be clear about this
kilo thing, because we're going to be
| | 01:58 |
working with sample rates in the
kilohertz range.
| | 02:02 |
And to save us saying all of these long
numbers, we generally start referring to
| | 02:06 |
things using kilohertz when we're talking
about things like higher ranges or frequencies.
| | 02:12 |
Now human hearing, that's your perception
of sound, goes from a low of about 20
| | 02:18 |
hertz up to a high of about 20,000 hertz,
and we would refer to that as 20 kilohertz.
| | 02:24 |
Sounds above about 20 kilohertz can
sometimes be heard by younger people, but
| | 02:30 |
as a rule you'll start to lose that upper
range hearing as you get older.
| | 02:35 |
So what does this have to do with
Audition?
| | 02:37 |
Well, in fact, regardless of which
application you're using, it's really
| | 02:41 |
important to understand what frequency
is, and as you go along you'll start to
| | 02:45 |
get a sense of what frequency range
certain sounds fall into.
| | 02:50 |
And, in fact, it becomes relevant when
you're working with special effects.
| | 02:53 |
So, for example, if you're working with
graphic equalizers, which allow you to
| | 02:57 |
adjust the volume, the amplitude of your
audio based on different parts of the
| | 03:02 |
frequency range.
You can do the low notes and the high
| | 03:04 |
notes separately if you like.
Well, you'll need to understand frequency
| | 03:07 |
in order to choose the bands, the ranges
that you're going to work with, when
| | 03:12 |
you're using those effects.
If you know, for example, the frequencies
| | 03:16 |
of the human voice, then you'll be able
to enhance or subdue different parts of
| | 03:21 |
recordings without affecting things like
background sounds, or usually, it's the
| | 03:25 |
other way around.
The energy, if you like, of the human
| | 03:28 |
voice, is perhaps between about 3 and 500
hertz, most of the body is around 1
| | 03:32 |
kilohertz, and the sibilance, the high
notes, can be as high as 16 kilohertz.
| | 03:37 |
The range is quite broad, but your
hearing really focuses on the center of
| | 03:40 |
that range.
We are really tuned for hearing the human voice.
| | 03:44 |
Understanding frequency also makes it
easier to understand things like the
| | 03:48 |
Spectral Frequency Display in Audition.
So you can identify sounds you don't want
| | 03:53 |
and remove them.
So, understanding frequency is pretty
| | 03:56 |
important when you're working with any
audio editing application.
| | 03:59 |
The precise timing with which those waves
bump into your eardrum, that's called phase.
| | 04:04 |
But before worrying about that, you're
probably going to want to think about
| | 04:08 |
amplitude, and that's what we'll talk
about next.
| | 04:11 |
| | Collapse this transcript |
| Understanding amplitude| 00:00 |
Earlier, we spoke about frequency, which
determines the pitch of the sound you're hearing.
| | 00:06 |
The other important part of measuring a
sound is its amplitude.
| | 00:10 |
Now technically, amplitude is a change in
the level of oscillation of atmospheric
| | 00:15 |
pressure caused by sound waves.
And in simpler terms, amplitude just
| | 00:19 |
means the loudness of the sound.
Effectively it's how hard does that set
| | 00:24 |
of air molecules beat your ear drum, how
much pressure is created by the sound.
| | 00:30 |
The higher the amplitude the more
powerful it is.
| | 00:33 |
So more airs being pushed around the
louder it gets.
| | 00:37 |
Quieter sounds are not as powerful, so
they push the air less.
| | 00:42 |
So together, frequency and amplitude give
you the pitch and the loudness of your
| | 00:47 |
sound wave.
In Audition, you'll probably spend most
| | 00:51 |
of your time working here, with the
Waveform Editor.
| | 00:55 |
Basically, the Waveform Editor displays
your audio file as a waveform, where time
| | 01:01 |
is measured on the horizontal axis and
the amplitude is measured on the vertical axis.
| | 01:07 |
The height of the peaks you see here tell
you how loud the sound is at any given time.
| | 01:12 |
Amplitude is measured in decibels, which
is often shortened to dB.
| | 01:16 |
Notice that it's a small d and a capital
B.
| | 01:20 |
You can see the scale here over on the
right.
| | 01:23 |
If I use my mouse, I can actually scroll
in to see more increments.
| | 01:27 |
But basically, no sound is represented by
this negative infinity symbol.
| | 01:32 |
And that's represented by the horizontal
line that moves through the Waveform Editor.
| | 01:38 |
Any deviation from the center line,
whether it's the peaks above or below the
| | 01:43 |
line, represents sound.
So throughout this course, when I'm
| | 01:47 |
referring to the amplitude of a sound,
you'll know I'm speaking about it's
| | 01:53 |
loudness or volume.
Now, this is a very brief discussion of
| | 01:57 |
frequency and amplitude.
If you like a much more in depth
| | 02:01 |
explanation, I highly suggest you check
out a course called Foundations of Audio:
| | 02:07 |
EQ and Filters which is by Brian Lee
White.
| | 02:10 |
You'll find an early chapter in that
course called Understanding Frequency and Amplitude.
| | 02:16 |
And that will increase your understanding
of these really important concepts.
| | 02:19 |
| | Collapse this transcript |
| Understanding sample rate| 00:00 |
When talking about digital audio, another
important term to understand is sample rate.
| | 00:05 |
Sound is a continuous entity, or its a
wave form shape, and when we capture
| | 00:12 |
audio digitally, which is what we're
doing when we record into a computer,
| | 00:16 |
we're not really capturing every single
moment of the sound.
| | 00:20 |
What we're doing is taking a sample of
the sound at a particular moment in time,
| | 00:26 |
and then the next moment, and the next
moment, and the next moment.
| | 00:28 |
This is just the same as a video camera,
which isn't really capturing all of the motion.
| | 00:33 |
Typically, it's going to capture maybe 24
or 30 frames per second.
| | 00:39 |
A series of still images.
And when those images are played in a sequence.
| | 00:43 |
The experience, the illusion of movement.
And so it is when you digitally record a sound.
| | 00:51 |
The frames in this case, the pictures if
you like, are called samples.
| | 00:54 |
And the more samples you collect per
second, the more accurately the sound
| | 01:00 |
will be recorded, and of course played
back.
| | 01:03 |
The speed at which these samples are
collected is called the sample rate.
| | 01:08 |
So for example the standard sample rate
of a music cd is 44100 hertz and we
| | 01:14 |
usually call that.
44.1 kilohertz.
| | 01:18 |
This means that for every second of the
music, what you're really hearing is
| | 01:22 |
44,100 samples of the music, which is
pretty acceptable to most people in terms
| | 01:30 |
of sound fidelity.
When you create a new recording in
| | 01:34 |
audition, you'll choose File > New >
Audio File.
| | 01:38 |
And one of the choices you make here, is
Sample Rate.
| | 01:42 |
You can see there's an incredibly wide
range of choices here.
| | 01:45 |
But generally, you're probably going to
stick with the 44.1 or 48 kiloHertz options.
| | 01:52 |
The rule is that you need a sample rate
that's at least double the highest
| | 01:57 |
frequency you intend to capture.
44.1 kilohertz is considered the minimum
| | 02:03 |
you should go with because human hearing
tops out at around 20 kilohertz.
| | 02:07 |
So 44.1 kilohertz gives you a nice
buffer.
| | 02:10 |
It gives you about 10% over human
hearing.
| | 02:12 |
You'll that when you're working with
video, generally speaking, you're
| | 02:17 |
going to use audio that's recorded at 48
kilo-hertz.
| | 02:21 |
So that's even more fidelity than you can
hear, to be honest.
| | 02:25 |
In fact, if you have the hard-drive space
to spare, many people recommend going as
| | 02:30 |
high as 96 kilo-hertz.
Of course, every additional sample you
| | 02:35 |
take of the audio is extra space on your
hard drive.
| | 02:38 |
Beyond that point, it's probably not
worth sacrificing the additional hard
| | 02:42 |
drive space.
You're just not going to hear any
| | 02:45 |
difference between 96 kilohertz and 192
kilohertz audio.
| | 02:50 |
You'll also want to keep the final
destination of your recording in mind.
| | 02:55 |
Now, there are different schools of
thought on whether it's worth recording
| | 02:58 |
at 48 kilohertz if you're going to be
burning your recordings to a CD, at which
| | 03:02 |
point it will be dropped to 44.1
kilohertz.
| | 03:06 |
Some people say it's better to have a
higher sample rate to work with and
| | 03:09 |
others point out the difference is only
8% between 48 and 44.1 and might not be
| | 03:16 |
worth your time to convert your file to
44.1 at that point.
| | 03:19 |
Now, some engineers are starting to
record at 88.2 kilohertz, which is
| | 03:25 |
exactly twice sample rate for 44.1, so
they can exactly cut their sample rate in
| | 03:30 |
half, when they reduce the sample rate
for CD's.
| | 03:34 |
It's really something you're going to
have to determine for yourself.
| | 03:37 |
But another factor in the recording
quality of your project is that you'll
| | 03:41 |
need to consider its bit depth.
And we'll talk about that next.
| | 03:44 |
| | Collapse this transcript |
| Understanding bit depth| 00:00 |
So, when you're creating a new recording
in Audition, and again you'll choose
| | 00:04 |
file, new, audio file, in addition to the
sample rate, which we previously covered,
| | 00:10 |
you'll also need to select the bit depth
of your recording.
| | 00:13 |
Notice we can choose from eight, sixteen,
twenty four, or thirty two bit float.
| | 00:18 |
The bit depth determines the dynamic
range of your audio file.
| | 00:23 |
The more bits the wider the range of
volume you can have within each sample of
| | 00:28 |
your recording.
Now think back to our previous Movie
| | 00:32 |
ensemble rate.
We likened the sample rate to a camera
| | 00:36 |
that takes thousands of images of sound
per second, thousands of samples.
| | 00:41 |
For example, a sample rate of 44.1kHz
takes 44,100 samples per second, and the
| | 00:48 |
amount of information stored in each one
of those samples is determined by the bit depth.
| | 00:54 |
For example, a low bit depth, like 8 bit
resolution, only allows for a dynamic
| | 01:00 |
range of 48 decibels within a sample.
And that's not enough to accurately
| | 01:05 |
capture the dynamic range of most sounds.
That's the range between the loudest part
| | 01:10 |
and the quietest part.
A 16 bit resolution sample, which is how
| | 01:14 |
most music CD's are encoded, allows for
96 decibels of dynamic range.
| | 01:20 |
24 bit gives you 144 decibels of range
and 32 is the best, it gives you 192
| | 01:28 |
decibels of dynamic range.
So, the higher your bit depth, the more
| | 01:33 |
information or dynamic range you have to
work with.
| | 01:37 |
Higher bit depths also result in larger
files though.
| | 01:40 |
But unless you're working on an old
computer with very little hard drive
| | 01:44 |
space to spare, you should always work
with the highest bit depth possible.
| | 01:49 |
Which in this case is 32 bit float.
When you're done, you can always convert
| | 01:54 |
your file to a lower bit depth, if you
want to decrease the file size.
| | 01:57 |
Or, for example, if you're going to burn
a CD, for which you'll have to drop your
| | 02:02 |
bit depth down to 16 bit anyway.
Now, the reason it's called 32 bit float
| | 02:08 |
is because this isn't true 32 bit
recording.
| | 02:11 |
32 bit recording is actually a 24 bit
resolution recording, with an additional
| | 02:16 |
8 bits for headroom and dynamic range.
And currently, there aren't any 32 bit
| | 02:21 |
sound cards.
Or input output devices for computers.
| | 02:25 |
The highest quality devices are still 24
bit and Audition uses the 32 bit float to
| | 02:32 |
get the optimum sound quality and dynamic
range out of your 24 bit hardware.
| | 02:38 |
The bottom line is, use 32 bit float for
your recordings to get the best dynamic range.
| | 02:43 |
You can always convert it down later, but
you'll never be able to get more quality
| | 02:47 |
from a recording that was recorded at a
lower bit rate.
| | 02:51 |
| | Collapse this transcript |
|
|
3. Importing and Managing Media FilesImporting audio files and browsing media| 00:00 |
As you might imagine, importing audio
files into Audition is very easy.
| | 00:05 |
But I just want to clarify what we mean
by import.
| | 00:09 |
We don't really taking a file and putting
it anywhere.
| | 00:12 |
What we're really doing is just creating
a shortcut to it or a link.
| | 00:16 |
And it's that link that we see, inside
this files panel.
| | 00:19 |
I'll give an example of what I mean.
There are perhaps four straightforward
| | 00:23 |
ways of importing media into audition.
I've got a folder here and I've got some stems.
| | 00:29 |
This is all of the audio from a layered
piece of music and I'm going to grab one
| | 00:33 |
of these mp3 files.
I've compressed these down to mp3 to make
| | 00:37 |
them a bit quicker for you to download
and I'm going to drag these over to the
| | 00:42 |
files panel in Audition.
And you can see, I'm dragging directly
| | 00:46 |
from Explorer here in Windows, this would
be the finder in Mac OS.
| | 00:50 |
If I now click into Audition you see
there's my file, and if I Right click,
| | 00:54 |
that's Control Click on a Mac, I can
choose reveal in explorer and there's the
| | 01:00 |
file, still on my hard drive.
I haven't moved it anywhere.
| | 01:02 |
It's in the same folder that it was
originally, so another couple of ways of
| | 01:07 |
importing are up here at the top left of
the files panel.
| | 01:10 |
I've got open file and import file.
And these seem pretty similar and to be
| | 01:14 |
honest they're very, very similar but
there is one subtle difference.
| | 01:18 |
If I choose open file, let's pull this on
screen here, this is opening up the
| | 01:23 |
explorer window, again this would be
finder on MAC OS.
| | 01:26 |
If I pick one of these pieces of audio
and click Open, you'll see that it
| | 01:31 |
actually opens the file in the Audio
editor.
| | 01:34 |
But if I instead click Import file, and
I'll just choose, something else here and
| | 01:39 |
click Open, you'll notice that the file
is imported, let me just adjust the
| | 01:45 |
heading here.
I'm just clicking and dragging the
| | 01:47 |
divider between name and status so we can
see the file name.
| | 01:51 |
But you notice, that file has not opened,
I'm still looking at this spectral cough
| | 01:55 |
that went far.
If I double click, you can see it's quite
| | 01:58 |
dramatically different in this waveform
view.
| | 02:01 |
That really is the difference between
these 2 buttons.
| | 02:03 |
If you don't want to be distracted from
the file you're working on, you choose
| | 02:07 |
import instead of open.
I can also double click on the blank
| | 02:10 |
space of the files panel here, this
brings up the open file panel.
| | 02:14 |
And I can right click on that space and
choose open or import.
| | 02:18 |
You can see, I've got Control O or I.
Or I could do Command or I on the Mac.
| | 02:22 |
So that's three ways of importing things.
But you'll notice down here I've also got
| | 02:26 |
a Media Browser.
Now if you don't have this on screen.
| | 02:29 |
Go to the Window menu right at the top
and you'll see it down here about halfway
| | 02:34 |
down the list media browser.
You also have the option of going to Work
| | 02:37 |
Space making sure default is selected,
and re-setting the default workspace.
| | 02:42 |
Now the media browser allows you to
examine audio files on your drives.
| | 02:47 |
It's actually on your hard drives,
without necessarily importing them to audition.
| | 02:51 |
This is especially useful because of this
button right here autoplay.
| | 02:55 |
With this button on, audition will
automatically begin to play any of the
| | 02:59 |
items that you select on this list.
Now of, course I could just click hold
| | 03:04 |
down the shift key, click again and have
a list of items I'm going to import .
| | 03:08 |
And if I just select one of these in fact
what I think I'll do is just select this
| | 03:13 |
folder so I'm seeing the items, these
all.
| | 03:15 |
Start playing pretty much right at the
beginning.
| | 03:17 |
I'm going to turn on Autoplay, and then,
well let's take this one for example.
| | 03:22 |
I'm just going to single-click (MUSIC),
and then another (SOUND).
| | 03:31 |
And another (MUSIC) and then click stop.
You see I've got a loop play button as
| | 03:37 |
well, so if this is on as Audition's
playing the file it'll just repeat.
| | 03:41 |
So these 3 buttons are very, very useful
for identifying items you'd like to
| | 03:45 |
import into Audition and you can see over
on the left I'm just seeing the contents
| | 03:49 |
of my drive.
This is pretty much the same Mac or PC.
| | 03:52 |
Browse to the folder you want to look in
and you can just check the media before
| | 03:57 |
you import it.
Anything I want, I can drag and drop, and
| | 04:00 |
there it is.
I've got it in my files panel, ready to
| | 04:04 |
work with.
So that's importing files, into Adobe Audition.
| | 04:08 |
And remember, when you import, nothing in
particular is being done to the files,
| | 04:11 |
we're just making them available to
include in multi track sessions or to
| | 04:15 |
work on in the waveform view.
| | 04:17 |
| | Collapse this transcript |
| Extracting tracks from a CD| 00:00 |
Extracting audio from a CD is super easy
in adobe audition.
| | 00:05 |
You don't import from a CD using the
standard import methods in the files panel.
| | 00:09 |
You're not going to click on either of
these buttons or right click or whatever.
| | 00:12 |
What you're going to do is go to the file
menu and choose extract audio from CD.
| | 00:18 |
Now Audition will make use of the CDDB,
the compact disk database, to obtain
| | 00:25 |
information about artist name and album
and so on.
| | 00:28 |
And in fact if I click on the little
spanner icon here, you can see, you can
| | 00:32 |
specify which server to use.
There is a couple of options for
| | 00:35 |
configuring it if you are using a
different server, in most cases the
| | 00:39 |
default settings are fine or just cancel
out, because this is a music CD I made
| | 00:43 |
myself I don't have anything registered
to that database, so let's say the artist
| | 00:48 |
is Maxim Jago and the album is amazing
Tracks, and the genre is rock.
| | 00:56 |
and I can specify a year, so there we go,
2013.
| | 00:59 |
In fact, let's put this way in the
future, 2044.
| | 01:03 |
Hopefully by then we'll have anti-gravity
belts.
| | 01:05 |
This is not a compilation so I'm not
going to take that box to identify it as
| | 01:09 |
such, and here well I can click Again to
retrieve titles, but nothing is going to
| | 01:14 |
happen because this is a home made disc.
Down on the list here I can if I want to
| | 01:20 |
manually rename these tracks, I can just
click...
| | 01:23 |
And click again, type in a different
name, go down the list this way and add
| | 01:27 |
different text.
And of course I can have taken the box
| | 01:30 |
for which tracks I want to extract.
You don't have to take every single track
| | 01:34 |
on the disk.
I can also preview these tracks by
| | 01:37 |
clicking the play button on the left.
And I've got a duration over on the right.
| | 01:42 |
A new feature that was added to Audition
for this release, is this tick box down
| | 01:47 |
at the bottom.
Extract to a single file.
| | 01:50 |
And a lot of people requested this from
Adobe.
| | 01:53 |
If I check this box, Audition will create
one single file containing all of the
| | 01:58 |
tracks that I've selected.
So it's very useful if you just need to
| | 02:01 |
take an archive of CD's.
And pull them into a single file for each disk.
| | 02:06 |
Down at the bottom I can toggle all of
the tracks off and on and of course, I
| | 02:11 |
suppose I should mention at the top, if
you've got more than one drive, which I
| | 02:14 |
do here, you do need to choose the
correct drive that contains the disk.
| | 02:18 |
You may also find that if you've got a
particularly fast drive and maybe you're
| | 02:23 |
having problems with it, you can slow
down the extraction speed.
| | 02:27 |
You don't have to go the maximum speed
for the drive.
| | 02:30 |
You probably recognize already the eject
button at the top here, so you can spit
| | 02:34 |
out the disc if you can't face the effort
to reach over and press the button on the
| | 02:39 |
front of your machine, or on your laptop,
but all that really remains to do is for
| | 02:43 |
me to click okay, and audition will begin
to extract those files.
| | 02:47 |
So, extracting audio from a CD, again, is
really, all you need to remember is to go
| | 02:52 |
to the file menu to find the option;
extract audio from CD.
| | 02:55 |
I think most of the other options here
should be pretty clear to you.
| | 02:59 |
| | Collapse this transcript |
| Creating a new audio file| 00:00 |
If you're working with existing audio
files, you're just going to open those up
| | 00:05 |
in Audition and go straight to the Wave
Form Editor, or perhaps the Multitrack View.
| | 00:10 |
But very often, you're going to create
new audio files from scratch.
| | 00:13 |
Now, let's just take a look at the
options when you do that.
| | 00:16 |
To create a new file, you're going to
click on this Post-it Note icon, this new
| | 00:20 |
File button menu in the files panel, and
you're going to choose new audio file.
| | 00:25 |
Notice that I can press Control Shift N
or Command Shift N on the Mac.
| | 00:29 |
I can also go to files menu and choose
new audio file, and I can even right
| | 00:35 |
click or control click in the file panel,
and choose the same options.
| | 00:39 |
So there's many powers up the mountain in
here, on Audition, and you're always
| | 00:41 |
going to have the same results, it just
depends on how you prefer to travel
| | 00:46 |
through the interface.
So, I'm going to choose Audio File here,
| | 00:49 |
and I have some pretty straightforward
options.
| | 00:51 |
I'll just call this first audio file, to
give it a name.
| | 00:55 |
I can specify the sample rate for this
audio file.
| | 00:58 |
So remember, the higher that the sample
rate, the more subtle the analysis of the
| | 01:03 |
audio that's recorded.
Remember, theoretically, people can hear
| | 01:07 |
up to about 20,000 hertz and you need
double the sample rate of the frequency
| | 01:13 |
that you want to successfully capture.
So in this case, 44.1 kilohertz, 44,100,
| | 01:20 |
which is the standard CD sample rate,
music CD's that is.
| | 01:23 |
That'll capture a frequency up to 22,050
Hertz, which is more than your ears can
| | 01:30 |
hear, which is not bad, but there are
some benefits to be gained by going for
| | 01:34 |
higher sample rates still.
It's quit common for people working on
| | 01:38 |
really high end professional audio to use
96 kilohertz, just because it give such
| | 01:42 |
subtle nuanced analysis of the sound.
It also means that very often you'll get
| | 01:47 |
cleaner sound, you'll get less background
noise, less system noise.
| | 01:50 |
I'm going to stick with 44.1 for now,
specify how many channels you want.
| | 01:55 |
So, do you want a single mono channel.
And, whenever I use this word channel, I
| | 02:00 |
just mean a signal.
If you imagine one ears worth of sound.
| | 02:04 |
You've got two, so you can have stereo
sound, which gives you your left and
| | 02:08 |
right audio.
But it's worth noting that when we're
| | 02:10 |
talking about stereo audio, what we mean
really is two mono signals where when you
| | 02:16 |
were recording the sound, you had two
mono microphones, one pointing left, one
| | 02:20 |
pointing right, that get's recorded into
a mono channel that we identify as left
| | 02:24 |
and right.
And then when we play those left and
| | 02:26 |
right mono channels back.
We happened to play them through speakers
| | 02:30 |
that are positioned left and right.
And the result is we get this
| | 02:33 |
reproduction of stereo sound, but really
they are mono channels.
| | 02:37 |
Audition will also support 5.1 surround
sound, which is you've got your center
| | 02:42 |
speaker, left and right front, rear left
and right, and your LFE or low frequency
| | 02:46 |
effects audio.
That's the 0.1.
| | 02:48 |
It's 0.1 because you can't really tell
where those low frequency sounds are
| | 02:53 |
coming from below a certain frequency.
You can identify direction.
| | 02:56 |
So, we can work with 5.1 if we want to we
can produce a 5.1 mix.
| | 03:01 |
But for now, I'm just going to go for
Mono, because I'm going to make a Mono recording.
| | 03:05 |
And here I can also specify the bit
depth.
| | 03:08 |
Now if you're producing a music CD You're
going to want to produce audio which is
| | 03:12 |
16 bit.
The higher the number of bits, the more
| | 03:15 |
subtle the gradient, if you like, from
completely silent to fully attenuated;
| | 03:19 |
that means, as loud as your recording
device can go.
| | 03:22 |
16 bit is great quality.
24-bit is about as high as any sound card
| | 03:28 |
will go, and Audition even allows this
special 32-bit floating point sampling mode.
| | 03:33 |
Which is really, really high quality for
high-fidelity, post-production work.
| | 03:38 |
I might as well go for 32-bit float
because.
| | 03:41 |
My system will take it and it gives me
more options, I suppose, I can always
| | 03:45 |
reduce the bit depth when I go to produce
a CD if that's what I want to do.
| | 03:49 |
In fact, Audition will apply that
reduction bit depth automatically, if I
| | 03:53 |
tell it to burn a disc.
So I'm happy with my settings, I'm going
| | 03:57 |
to click okay.
You'll notice I have a little asterisk
| | 03:59 |
next to the file name here because it has
not been saved.
| | 04:03 |
I haven't given audition allocation yet,
so if I select this and press control s,
| | 04:08 |
or command s audition invites me to
choose a location which I'll take.
| | 04:12 |
Let's just browse, let's put this in a
folder importing audio files and browsing
| | 04:21 |
media, here we go, just go into there, of
course I'm in Windows, this would be the
| | 04:25 |
finder on mac OS.
Click Save and I'm ready to go.
| | 04:29 |
I can change these settings if I want
when I save as.
| | 04:32 |
Which is what this dialogue is.
But I don't need to.
| | 04:34 |
I'm going to click okay and I'm off.
I don't need to save before I start using
| | 04:39 |
this audio file.
But I like saving.
| | 04:40 |
I believe in paranoia when working with
computers.
| | 04:44 |
So that's how you create a new audio file
with Adobe Audition.
| | 04:48 |
| | Collapse this transcript |
| Recording an audio file| 00:00 |
You can use Adobe Audition as a disk
recorder very, very simply.
| | 00:04 |
Here I am in the Waveform view, and I've
got nothing open at all, but you'll
| | 00:10 |
notice that this red button is standing
out.
| | 00:12 |
It's pretty much the only thing I can do
right now, is record a new audio file.
| | 00:17 |
I'm going to click on this red button and
Audition's going to invite me to create a
| | 00:22 |
New Audio File.
I've already got one that I'm going to
| | 00:24 |
open up in a second but you can see here
I have all my standard options to define
| | 00:28 |
the Name and the Sample Rate and so on.
I'll just Cancel out of this.
| | 00:32 |
I'm going to double click in the Files
panel and I'm going to open up a file I
| | 00:37 |
created just to save me from going
through those settings.
| | 00:39 |
So here it is.
And you can see, I've got my wave form
| | 00:42 |
view at the top.
I've got my spectural display at the bottom.
| | 00:45 |
Everything is blank.
And now, I have a few more controls I can
| | 00:48 |
play and so on.
But I still have this red button waiting
| | 00:51 |
for me to click it.
Before I hit record, I may want to check
| | 00:56 |
the level that my system if receiving.
And down here in the Levels panel, if I
| | 01:00 |
want to I can right-click or Ctrl+click.
And at the top here I've got Meter Input Signal.
| | 01:06 |
You'll notice there are a range of other
options here.
| | 01:09 |
I suppose most of which you can play with
and work out, but notice, especially,
| | 01:13 |
that we have this dB range by default.
We're looking at a 60 dB range, that
| | 01:17 |
means from zero at the top fully
attenuated, that means as loud as it can
| | 01:21 |
go down to minus 60 dB.
If I set this to a 120, you can see it
| | 01:26 |
just changes the scale.
We're still going ultimately down to
| | 01:30 |
infinitely quiet at the bottom.
The reason audio is recorded with zero at
| | 01:35 |
the top, as the loudest.
I suppose is because what we're
| | 01:37 |
measuring, is, the maximum amplitude that
recording device can take, down to, what
| | 01:44 |
is really the noise floor.
Infinitely quiet isn't really infinitely quiet.
| | 01:48 |
There's always a little bit of system
noise.
| | 01:50 |
There's always a little bit of background
sound.
| | 01:52 |
Even if its just electromagnetism
interfering with the cables.
| | 01:56 |
So we're starting with as loud as we can
go and going down to the quite as we can
| | 02:00 |
record before we get that background
hiss/g.
| | 02:03 |
I'm going to set this back to 60 dB and
I'm going to right-click again or
| | 02:07 |
Ctrl+click and I'm going to choose Meter
Input Signal.
| | 02:09 |
Notice this is Alt or Option+I to toggle
this on.
| | 02:13 |
Now I've got my machine setup to take my
microphone input and learn the hold you
| | 02:18 |
can see I'm speaking and the meter is
displaying the noise.
| | 02:23 |
This feature very useful, if you just
want to check you are not speaking lit
| | 02:27 |
bit too loud.
With digital recording, if you go over
| | 02:30 |
zero, you can be in trouble with old
analog recording systems if you override
| | 02:36 |
the audio.
It just kind of goes a bit fuzzy but with
| | 02:38 |
digital recording systems you really do
not want to go beyond zero.
| | 02:42 |
You really want to be peaking pretty much
where I am here.
| | 02:45 |
Between maybe minus 12, minus 6 maybe
just touching on minus 3 dB.
| | 02:50 |
Pushing over towards zero, putting over
to the red is not a good idea, and being
| | 02:54 |
digital you can go lower.
The signal to noise ratio, that means the
| | 02:58 |
difference between the loudest part, the
signal.
| | 03:00 |
That, the bit that you want of the
recording and the bit you don't want, the
| | 03:04 |
background noise, that ratio is very good
with digital systems.
| | 03:08 |
So if I want to start recording, I just
hit the red button, and, hello this is me
| | 03:15 |
recording directly into Adobe Audition.
And as you can see, Audtion is drawing
| | 03:20 |
this beautiful wave form of my speech at
the top.
| | 03:23 |
And I've got the spectral display showing
the frequency range as well.
| | 03:28 |
And I can just keep going.
If I want to I can Pause.
| | 03:31 |
I've kind of paused in the middle of the
word pause there didn't I so it's
| | 03:34 |
going to have a bit of a break.
And I can unpause and here we go again.
| | 03:40 |
Now I'm recording some more.
Remember when you're recording it's very,
| | 03:44 |
very easy to Remove content in Audition.
Of course it's much more difficult to add it.
| | 03:49 |
Especially if you've got mid word as I
just paused myself there in mid word.
| | 03:54 |
I'm just going to have to record that
sentence again if I wanted to keep this recording.
| | 03:57 |
Of course, that's no problem, that's what
Audition is for.
| | 04:00 |
But, here we go.
I'm happy with that recording, I'm going
| | 04:04 |
to click Stop.
There it is, it's highlighted in white
| | 04:07 |
because it's selected.
I'm just going to deselect by clicking
| | 04:10 |
anywhere in the selection.
There's my WAV form.
| | 04:13 |
Notice the little asterisk next to the
file name.
| | 04:16 |
I'm going to press Ctrl or Cmd+S to save,
and my audio file is done.
| | 04:21 |
So, again with Audition, either have an
audio file open and hit Record or if you
| | 04:27 |
don't have any audio files open, Audition
will invite you to create one.
| | 04:31 |
Wherever the play head is, that's this
red line here, wherever that is, when you
| | 04:35 |
hit record it's going to start recording
over the top of what is there.
| | 04:38 |
So, it's easy enough for you to replace
parts of the audio if you want to.
| | 04:42 |
My advice though, is to create additional
files and blend them together later.
| | 04:46 |
It's better to give yourself the options
and if you like, to fix it in post.
| | 04:50 |
| | Collapse this transcript |
| Importing video files| 00:00 |
Audition has a very, very broad range of
supported file types.
| | 00:05 |
And that means a range of files that you
can work with.
| | 00:08 |
Different formats of file that you won't
need to convert before working on them
| | 00:11 |
natively inside of Audition.
You can just pull them in and get to work.
| | 00:15 |
If I double click inside this files
panel, you see I've got my open file
| | 00:19 |
dialog box.
And down at the bottom I can specify a
| | 00:22 |
file name, I can select individual items.
I can even lasso and select multiple
| | 00:27 |
items to import them together.
This is very much the same, Mac or PC.
| | 00:31 |
Down at the bottom right, I've got the
different media types.
| | 00:34 |
And if I click on this menu, you can see
the list of all supported media.
| | 00:38 |
It just goes off the screen, it's
enormous.
| | 00:40 |
And looking down the list, we've got some
very interesting options.
| | 00:44 |
There are some obvious ones that you
might expect, like MP3 audio, PCM audio,
| | 00:49 |
Broadcast Wave files.
All of those standard audio options, but
| | 00:52 |
notice also I've got things like Windows
Media.
| | 00:55 |
I've got OMF.
I've got MXF.
| | 00:58 |
I've even got things like R3D files.
These are Camera Raw files from a RED camera.
| | 01:04 |
FLV.
I have a whole ranges of video options
| | 01:06 |
here which doesn't really make sense
because we're working in an audio application.
| | 01:10 |
Now the benefit of importing a video clip
into Audition, is well, one option is
| | 01:15 |
that you can clean up the audio.
You can work on it, and then combine it
| | 01:18 |
back in with the video clip in a non
linear editing system.
| | 01:22 |
Another option is that you can use that
video clip as a reference when you're
| | 01:25 |
producing a music composition for film
for example.
| | 01:29 |
Adobe Premiere Pro even has a work flow
that will automate that process for you.
| | 01:34 |
So Premiere Pro will send Audition all of
the audio clip segments and then also
| | 01:38 |
send over a flattened video file you can
use as a reference.
| | 01:42 |
In this case I'm just going to change
this to QuickTime movie because one of
| | 01:45 |
the items on the list here is a
QuickTime.
| | 01:47 |
And I'm just going to select that and
we'll click open and it's going to pull
| | 01:52 |
the file into Audition.
And right away, you'll see something
| | 01:55 |
interesting happens.
First of all I've got the video clip,
| | 01:58 |
interview noise.mov.
And it's 11 seconds and 644 milliseconds.
| | 02:05 |
If I double click to try and open up that
mov I get a warning and the warning says,
| | 02:09 |
well sorry hang on a minute, this file is
only video and cannot be edited.
| | 02:14 |
To view the video insert the file into
multi track session.
| | 02:17 |
So if you're working in the multi track
mode in Audition there is a video track,
| | 02:22 |
just one.
You can't do video editing with it.
| | 02:24 |
It's just there as a reference, but you
can't work on a video file in the
| | 02:28 |
waveform editor.
Notice also over in the Files panel I've
| | 02:32 |
got InterviewNoise_Audio and a little
asterisk here to show that this file has
| | 02:38 |
been created but not yet saved.
If I double-click to open this up, you
| | 02:42 |
can see I'm getting the waveform and the
spectral display for the audio taken from
| | 02:47 |
that QuickTime movie.
So when I imported that video clip,
| | 02:51 |
Audition has automatically looked inside
it.
| | 02:54 |
Indentified that it has audio.
Stripped out that audio and given access
| | 02:58 |
to it separately in my files panel.
I can now work on this audio, make any
| | 03:03 |
adjustments I want and then combine the
two later.
| | 03:05 |
However, be aware that this is two
separate things now.
| | 03:10 |
This is not the audio from the QuickTime
movie.
| | 03:12 |
If I save this audio, it's not going to
update the original QuickTime movie.
| | 03:16 |
This is a separate file that I'm going to
work on on my hard drive.
| | 03:20 |
And if I just toggle over.
Now let me pull on screen the original
| | 03:26 |
folder on my hard drive that contains
that interview noise movie.
| | 03:30 |
You can see there's the QuickTime movie
file.
| | 03:33 |
It's down at the bottom.
I've got the details, QuickTime movie.
| | 03:36 |
If I go back to Audition and hit save,
Ctrl+S or Cmd+S, I'm being given the
| | 03:41 |
option to save this extracted audio part
of that video file.
| | 03:47 |
I click OK.
I'm happy with the default settings.
| | 03:49 |
Toggle back over and you can see now if I
just go up into my sessions and into my
| | 03:57 |
importing session folder.
There we go.
| | 04:00 |
Interview noise audio and there's a peak
file for it to display the waveform.
| | 04:04 |
So this is an independent file that I am
going to work on in Audition taken from
| | 04:10 |
that video and this process of stripping
out the audio happens automatically.
| | 04:14 |
So again, importing video clips is just
the same as importing audio clips.
| | 04:19 |
But remember you won't actually be able
to do anything to the video part of the clip.
| | 04:23 |
Audition just takes care of separating
the video and the audio just to make life
| | 04:28 |
easier for you.
| | 04:28 |
| | Collapse this transcript |
|
|
4. Working with Sound FilesComparing waveforms and the Spectral Frequency Display| 00:00 |
Audition has a couple of different ways
of displaying information about a sound
| | 00:05 |
file that you're working on.
And let's just compare them now.
| | 00:08 |
We've got our waveform view and our
spectral frequency display.
| | 00:11 |
So down in my Media Browser.
I'm browsing over to my assets, and in
| | 00:17 |
this clean up directory I've got a clip
here which has some speech with a siren
| | 00:23 |
in the background.
Now I can select this and play it if I
| | 00:26 |
want and have a listen.
(SOUND) Or I can drag this into my files panel.
| | 00:32 |
Or if I like I can just double click and
it's going to have the same effect as
| | 00:36 |
dragging and dropping.
So now I've got my speech with the siren
| | 00:40 |
in the background.
And it's pretty clear what's going on here.
| | 00:42 |
Let's have a play and listen.
I'm pressing the spacebar to playback.
| | 00:52 |
(SOUND)
>> The shelves were bare of both jam or crackers.
| | 00:57 |
>> Okay, so you get the gist.
Where the audio is louder, the waveform
| | 01:01 |
is taller, where it's quieter, it's
shorter.
| | 01:05 |
It's narrower in the center.
Notice on the right here, the scale of
| | 01:08 |
this graph has infinity at the center.
That means completely quiet, or as quiet
| | 01:12 |
as we can go when we hear the noise, or
the background sound.
| | 01:16 |
And then rising up from that center point
and going down from the center point, we
| | 01:20 |
go up and up and up away from these minus
numbers up towards zero DB, which is
| | 01:26 |
fully attenuated, which is as loud as the
system can record.
| | 01:30 |
And really what you can imagine here is
imagine the surface of a speaker beating
| | 01:35 |
the air, but if you imagine turning the
speaker sideways so it's moving up and
| | 01:38 |
down instead of left and right and
drawing a plot line, that's kind of what
| | 01:42 |
we're getting here.
The more the speaker moves, the more the
| | 01:46 |
plot line moves.
You can see these tall peaks and deeper
| | 01:49 |
troughs as the audio is louder.
So far, so good.
| | 01:53 |
We've got time moving left to right at
the top.
| | 01:56 |
And we've got amplitude top to bottom.
But what we don't have is any information
| | 02:00 |
about frequency.
Any information about the pitch, the tone
| | 02:04 |
of this audio.
Now right at the top of the waveform
| | 02:08 |
interface here, you see I've got a couple
of display options.
| | 02:12 |
I've got the spectral frequency display
and I've got the spectral pitch display.
| | 02:17 |
I want to come to the pitch display
later.
| | 02:19 |
And start with the spectral frequency
display.
| | 02:21 |
If I click this, Audition is going to pop
up the waveform and show me the frequency
| | 02:28 |
display at the bottom.
Now before I get into this, I'm just
| | 02:30 |
going to turn this off again.
And notice i can press Shift+D to turn
| | 02:34 |
that off and on.
A lot of people don't see this in Audition.
| | 02:36 |
At the very bottom of the waveform view
I've got this bar, I've got this panel
| | 02:40 |
with a little grab handle, and if I click
and drag I can introduce the spectral
| | 02:46 |
display that way as well.
So, I can click the button, or I can just
| | 02:49 |
click on this bar.
And let's just pull this up a little bit more.
| | 02:53 |
I'm going to move this heads up display
over so we can see our waveform a little
| | 02:57 |
bit better.
In the spectral display, time still goes
| | 03:01 |
left to right.
So our playhead here, the red line moves
| | 03:03 |
left to right across it.
And you can see very clearly lined up
| | 03:07 |
where the louder parts of the audio are.
I've got some stronger markings here in
| | 03:12 |
the spectral display.
The vertical axis in the waveform view
| | 03:16 |
indicates amplitude.
It indicates volume.
| | 03:19 |
The vertical axis in the spectral display
doesn't.
| | 03:23 |
This indicates frequency.
And you'll notice on the right, instead
| | 03:26 |
of having a decibel scale, I've got a
hertz scale.
| | 03:29 |
So, hertz is cycles per second, number of
times per second.
| | 03:33 |
And so the higher we go on this graph,
the higher the frequency, so the higher
| | 03:37 |
the tone, and the lower we go, the lower
the frequency, the lower the tone.
| | 03:41 |
And we can see very clearly here, where
that siren is.
| | 03:44 |
We're getting some harmonic frequencies
from the siren, and this is rising and
| | 03:49 |
then falling.
And then here, we've got a very broad
| | 03:52 |
range of frequencies, where there's
speech.
| | 03:54 |
And then there's a gap, we can see the
siren, and we've got some more speech.
| | 03:57 |
So, what we're getting here is the
frequencies that are recorded in that sound.
| | 04:03 |
Now, the brightness of these markings
indicates the amplitude of those
| | 04:07 |
frequencies, which means brighter
markings, it's louder at that frequency,
| | 04:13 |
darker markings, it's quieter at that
frequency, and if it's totally black
| | 04:17 |
there's no audio at that frequency at
all.
| | 04:19 |
And you can see speech goes across a wide
range of frequencies.
| | 04:23 |
Mechanical sounds tend to go through
quite narrow bands.
| | 04:26 |
You'll notice, if you ever record
something like a telephone ringing, or in
| | 04:29 |
this case, a siren.
We've got these strong, clear ribbons of
| | 04:33 |
shape in the spectral display.
The spectral display makes it very, very
| | 04:36 |
easy to identify parts of a sound that
you want to remove.
| | 04:40 |
For obvious reasons because, well there
it is, there's my siren.
| | 04:44 |
And you'll use both of these displays,
all the time when working with Audition.
| | 04:48 |
So again, you can turn the spectral
frequency display off and on with this button.
| | 04:53 |
And you can access information about your
audio files in both ways at the same time.
| | 04:59 |
| | Collapse this transcript |
| Understanding the Spectral Pitch Display| 00:00 |
As well as a spectral frequency display,
Audition also has a spectral pitch
| | 00:06 |
display which identifies notes based on
the frequencies Audition discovers inside
| | 00:12 |
a sound file.
Lets take a little look at what this
| | 00:14 |
really means in practice.
I've got a piece of audio here in my
| | 00:19 |
assets directory of the cleanup folder
called Mary Had A Little Lamb, I'm just
| | 00:23 |
going to drag that in and I'm going to
open it up by double clicking on it.
| | 00:26 |
You can see here I've got my spectral
frequency display on and so I'm seeing my
| | 00:30 |
wave form at the top and my spectral
display at the bottom.
| | 00:35 |
Notice that this is stereo audio so now
I've got two wave forms and two spectral displays.
| | 00:40 |
I've got a left and a right displayed
here as well.
| | 00:43 |
So we can work on these independently but
usually we'll work on them together.
| | 00:47 |
Up at the top, where I have my show
spectral frequency display button, just
| | 00:53 |
next to that I've got another button.
That says Show Spectral Pitch Display
| | 00:57 |
which I'll turn on now.
Let me just re-size this a bit so you can
| | 01:00 |
see what's going on.
And I think this is pretty clear.
| | 01:03 |
Over on the right, instead of showing me
just the frequencies, so I've got the
| | 01:09 |
hertz scale.
Let's just switch back here.
| | 01:11 |
This is my spectral display with hertz
from zero up to, well 10K is pretty much
| | 01:17 |
topping off on this scale.
If I switch over to the pitch display,
| | 01:21 |
those numbers are translated into notes,
and because this is a simple piano
| | 01:26 |
playing You can see this blue line
represents the main body of the sound, if
| | 01:31 |
you like.
That audition thinks is probably being played.
| | 01:35 |
And you can just draw your eyes across on
this line, and identify the notes that
| | 01:39 |
are being played.
So if I press the space bar here to play
| | 01:42 |
this track.
(MUSIC).
| | 01:42 |
(MUSIC) Fantastic.
So this is not really doing anything to
| | 01:54 |
the audio.
It's just giving us information about it.
| | 01:57 |
Which is particularly useful if you want
to work with special effects like pitch
| | 02:02 |
correction or the pitch blender.
Maybe you want to work some vocals to
| | 02:06 |
bring them into the tones that are being
played in the music you're working with.
| | 02:10 |
And just get everything nicely tuned up
based on the notes that are in the audio
| | 02:15 |
rather than just based on the frequency.
So again you can toggle between the
| | 02:20 |
regular spectral frequency display, and
the pitch display, up at the top here of
| | 02:24 |
the interface.
It's very easy to switch between one and
| | 02:27 |
the other.
| | 02:27 |
| | Collapse this transcript |
| Making selections| 00:00 |
Making precise selections in Adobe
Audition is an important part of your work.
| | 00:06 |
You need to be able to selectively apply
special effects, remove parts of your
| | 00:11 |
audio, and so on.
Let's just take a little look at how to
| | 00:14 |
make selections in the Waveform Editor.
I'm just going to go into my Media under
| | 00:18 |
my Sessions folder.
And let's have a look at in the working
| | 00:22 |
with sound folder on that drive in my
Media browser, and I'm going to double
| | 00:27 |
click to open up this interview noise
audio.
| | 00:29 |
Now what's interesting about this is
we've got our waveform and that's okay.
| | 00:33 |
But if we look in the spectral display,
we've got some interesting bits of
| | 00:37 |
mechanical noise.
These are sounds that we're going to want
| | 00:40 |
to work with and clean up, and remove.
Just so you can have a little listen,
| | 00:44 |
I'll click and Play this back.
You can hear there's a telephone ringing
| | 00:47 |
in the background.
>> (SOUND).
| | 00:50 |
>> So, this is something we might want
to work with in post.
| | 00:54 |
So, first of all, if I just pulled down
to our Waveform display and just moved
| | 00:58 |
the Heads Up display a little bit.
You'll notice along the top here, I have
| | 01:02 |
a series of tools and only the tools that
are usable in a particular display are
| | 01:08 |
going to be accessible.
You'll notice that some of these are
| | 01:10 |
grayed out.
And that because they're for using in the
| | 01:12 |
multitrack display.
Right now what I'm particularly
| | 01:15 |
interested in is these three.
The Time Selection Tool, the Marquee, and
| | 01:20 |
the Lasso.
So first of all, let's take this I beam
| | 01:23 |
Time Selection tool.
And you can see, I can just drag across
| | 01:26 |
and make a time selection pretty straight
forward.
| | 01:29 |
You can only ever have one.
You don't need to move it.
| | 01:31 |
Where ever you click, that's what you're
going to select.
| | 01:34 |
Notice that if I select a little part of
this, the play head is automatically
| | 01:39 |
lined up with the beginning of the
selection.
| | 01:41 |
So if I press Play, I'm just going to get
that selection, (SOUND), pretty short.
| | 01:46 |
Notice as well that when I make that
selection, automatically in the spectral
| | 01:51 |
display, I'm getting a top to bottom,
every frequency, marquee selection.
| | 01:55 |
I'm getting a box over all of the
frequencies for that duration.
| | 01:59 |
I can also click inside the spectral
display.
| | 02:02 |
I'm going to have exactly the same
effect.
| | 02:04 |
With this tool.
If I go to the marquee tool though I can
| | 02:07 |
now click and drag particular frequencies
within the spectral display.
| | 02:11 |
It's pretty dinky but I can Click and
Drag over that telephone ring.
| | 02:16 |
And now I can do things like reduce the
volume if I wanted to or apply some noise
| | 02:20 |
reduction effects.
If try to use this tool in the wave form
| | 02:24 |
you'll see.
That it switches to that I beam, so,
| | 02:27 |
automatically, Audition is giving me the
correct tool.
| | 02:30 |
And lastly, if I go to this Lasso, or
Lasso tool, I can click and drag and make
| | 02:36 |
any shape I like, inside the spectral
display.
| | 02:41 |
And now that I've done that, I've got a
region of interest, if you like, within
| | 02:45 |
which I can, again, I can do things like
apply effects.
| | 02:47 |
If you've ever used Adobe Photoshop, you
should be familiar with this kind of
| | 02:51 |
selection process, often referred to as a
mask in Photoshop.
| | 02:54 |
Notice that if I click on the area that
I've selected and drag, and move this
| | 03:00 |
selection to other parts of my spectral
frequency display.
| | 03:04 |
Notice as I move towards the top this
seems to shrink.
| | 03:08 |
As I move towards the bottom, it expands.
That's because if you look at the scale
| | 03:12 |
on the far right side of this display,
it's not a linear scale.
| | 03:16 |
It's a logarithmic scale.
You can see The distance between 1k and
| | 03:20 |
4k is bigger than the distance between 6k
and 10k.
| | 03:24 |
Even though it's the same number of
frequencies.
| | 03:27 |
So we're getting this logarithmic curve
display and my selection is updating
| | 03:32 |
automatically to reflect that.
It's a linear selection, it's a specific
| | 03:36 |
range of frequencies, and those
frequencies are reflected correctly
| | 03:40 |
within the spectral display.
One other little thing here is if you
| | 03:43 |
double-click, Audition will automatically
select the entire audio file.
| | 03:50 |
But if I zoom in a little bit, which I
can do down here with my Zoom controls.
| | 03:55 |
And then let me go to my I beam,
deselect, double-click, and then zoom out again.
| | 04:01 |
So here, I'm zooming out.
You can see what I'm actually selecting
| | 04:05 |
is not the entire audio clip, but the
visible part of the audio clip.
| | 04:09 |
So using the Zoom controls, you can
specify the region that you're going to select.
| | 04:15 |
Zoom out and then work with that region
within the context of the full duration
| | 04:19 |
of the file.
So that's how to make selections in Audition.
| | 04:23 |
It's a very important part of the work
you're going to do so I recommend you
| | 04:26 |
take a little bit of time to get
comfortable with these three tools.
| | 04:30 |
| | Collapse this transcript |
| Using the playback controls| 00:00 |
Let's take a look at the playback
controls here in Audition so we can find
| | 00:05 |
our way around audio files that we're
working with.
| | 00:08 |
Now, let me go to my Assets folder, and
let's double-click to open up this
| | 00:11 |
millionaire mix quieter.mp3 clip.
I've just produced a version of this
| | 00:17 |
audio that's a little bit quieter so we
can work with it, you can still hear me speaking.
| | 00:21 |
And you're often going to find that you
need to drop the audio level from music
| | 00:24 |
taken from a CD.
Because it's common to create CDs with
| | 00:29 |
the audio as loud as it can possibly be.
It just maximizes the differences between
| | 00:33 |
the signal, which is the music and the
background noise in the, in the ghost in
| | 00:37 |
the machine, if you like, the system.
Notice that I've already added some
| | 00:41 |
markers to this piece of audio.
These are just there to help me find my
| | 00:44 |
way around the media.
And I've got my Spectral display on view.
| | 00:48 |
I've made this pretty quiet so it's a
very, very small wave form.
| | 00:51 |
Now if I click anywhere on this timebar
along the top, I can position my
| | 00:57 |
playhead, this red line, which is the
current point in my media.
| | 01:01 |
Down at the bottom right you can see.
I've got a selection which of course has
| | 01:05 |
a situation of nothing.
It starts and ends at the same moment.
| | 01:09 |
I've got my view which is showing the
entire direction of the audio.
| | 01:13 |
If I zoom in a little bit this is going
to reduce.
| | 01:17 |
Over on the left, I've got my minutes,
seconds and milliseconds displayed.
| | 01:21 |
So I can press the space bar to play and
stop or I can click on this play button.
| | 01:26 |
(MUSIC) I can pause and you'll notice
that if I pause the levels meter
| | 01:31 |
indicates the current sampled amplitude
at this precise moment.
| | 01:36 |
I can press stop and that will go away
completely.
| | 01:40 |
I could also press and hold these fast
forward and rewind buttons So it's a very
| | 01:46 |
kind of analog experience.
I can also jump between the markers and
| | 01:50 |
the beginning and end of the audio clip.
I can click on this red record button,
| | 01:55 |
and this will record over the audio in
the sound file, using whatever input I've
| | 02:00 |
got set up on my system.
I've also got a loop play button that
| | 02:04 |
will loop the playback within a selection
that I've made, or for the entire piece.
| | 02:08 |
So if you're trying out lots of effects,
you can just set the audio to loop, and
| | 02:12 |
And when you play, it'll get to the end.
Go back to the beginning again.
| | 02:15 |
And you can just keep hearing the effects
as you apply them.
| | 02:18 |
As well as using the space bar to (MUSIC)
stop and start playback, there we go.
| | 02:22 |
I can also use the J, K, and L keys.
Now, this is common as a feature in
| | 02:28 |
normally any editing systems.
The J key plays backwards.
| | 02:31 |
The K key pauses.
And the L key plays forwards.
| | 02:35 |
Now I'm just going to zoom in a little
bit here using the.
| | 02:37 |
Plus key at the top of my keyboard, it's
technically the equals key but it's got a
| | 02:42 |
plus over it.
The hyphen to the left of it, the minus
| | 02:44 |
key zooms out.
And if I just press the L key now you can
| | 02:48 |
see I'm playing forwards (MUSIC).
The J key plays backwards.
| | 02:53 |
And K pauses.
If I press L twice, I'm going to go
| | 02:56 |
faster and faster and faster and K
pauses.
| | 02:59 |
So you can use J, K, and L, in this way,
as a shuttle controller if you like to
| | 03:05 |
move around your media.
If you want to, you can bring up an
| | 03:08 |
additional floating panel of these so
called transport controls.
| | 03:12 |
If you look under the Window Menu, we've
got a transport option.
| | 03:17 |
And this brings up an additional panel
which seems rather redundant being
| | 03:21 |
directly underneath the editor panel.
But if I click and drag on the tab.
| | 03:26 |
I can move this wherever I want in the
interface.
| | 03:28 |
In fact, if I hold down the Ctrl key,
that’ll be the Cmd key on a Mac, this
| | 03:33 |
becomes a floating panel.
So you just click and drag, release the
| | 03:36 |
mouse, then release the key.
And now I've got an additional panel I
| | 03:39 |
can float anywhere I like, to work with
playback in my audio file.
| | 03:43 |
I just close that.
Notice as well we've got, just next to
| | 03:47 |
the Loop Playback button, we've got this
Skip Selection button.
| | 03:50 |
Now if I have a selection, let me just
draw out a little selection here and
| | 03:55 |
position my playhead just before it.
Again, I'm clicking on the numbers along
| | 03:59 |
the top here to position the playhead,
rather than clicking inside the waveform
| | 04:03 |
because that's going to update my
selection.
| | 04:05 |
So I'm going to make the selection.
Just click back here, and now if I have
| | 04:09 |
this skip selection option on, then
audition's going to skip over that part
| | 04:14 |
of the audio.
In fact let me show you this with a
| | 04:16 |
different piece of audio.
I'm just going to go into my clean up
| | 04:19 |
folder here Lets put in this vocal pitch
correction clip.
| | 04:24 |
So this is audio pitch correct vocal for
tuning.
| | 04:27 |
Lets double click to open that up.
And you can see here, we've got some out
| | 04:31 |
of tune singing.
(SOUND) Pretty painful.
| | 04:37 |
Now, if I select part of this, and I have
this skip selection option on.
| | 04:42 |
I don't really need the loop playback.
Just going to click back a little bit.
| | 04:45 |
I'm going to press the space bar, and
just watch what happens to the play list.
| | 04:49 |
(MUSIC) See that.
And it's jumped back to the beginning again.
| | 04:56 |
So the purpose of this option is for you
to preview removing part of your audio,
| | 05:01 |
if I turn this off and press the space
bar again (MUSIC) well you get the gist.
| | 05:06 |
So it's pretty useful for previewing
removing parts of speech.
| | 05:11 |
And one last thing, let's just go back to
this millionaire mix, if I zoom right in.
| | 05:18 |
There we go, pretty far in to my audio,
just move the heads up display out of the way.
| | 05:22 |
If I go to my Edit menu and coose
Preferences and Playback.
| | 05:26 |
This under the Adobe Audition menu on MAC
OS.
| | 05:29 |
You can see under Playback I've got this
auto scroll during playback and recording option.
| | 05:34 |
This means that, when the play head goes
off the screen.
| | 05:37 |
The waveform will update and show you
whichever part we're playing.
| | 05:40 |
That's on by default.
But if I also turn on centered auto
| | 05:44 |
scrolling in waveform editor Let's click
okay on that.
| | 05:49 |
Now if I just deselect here and position
my play head somewhere, press play.
| | 05:54 |
(MUSIC) When it gets to the center, you
can see what's happening, the background
| | 06:00 |
is now moving behind the play head.
Now I really like working this way, but
| | 06:05 |
do be aware that this is going to take a
little bit more system resources, your
| | 06:09 |
machine has to do extra visual work at
the same as playing back the audio, so
| | 06:14 |
you might find that on a slower, less
powerful machine you have some occasional
| | 06:19 |
problems with playback.
You can turn that off by going to the
| | 06:23 |
edit menu.
Preferences, playback, or emacos the ow
| | 06:27 |
edition menu and choosing preferences and
playback, and turning off centered order
| | 06:31 |
scrolling in the way form editor.
So that's the standard playback controls
| | 06:37 |
in ow edition.
| | 06:40 |
| | Collapse this transcript |
| Using the zoom controls| 00:00 |
Adobe Audition has some pretty advanced
zooming controls.
| | 00:04 |
Lets just take a quicker look at them
here in the wave form display.
| | 00:07 |
I'm going to go into my assets and I'm
going to pick out this simply falling track.
| | 00:12 |
I'm going to double click to open this up
from inside the media browser.
| | 00:16 |
That's going to put it in my files panel
and open it up here in my wave form display.
| | 00:22 |
Just to begin with, I'm going to double
click on the bar separating the wave form
| | 00:27 |
display and the spectral display, the
spectral frequency display.
| | 00:30 |
Double clicking is just a short cut for
switching the display OFF and ON.
| | 00:34 |
And you can see this is a very loud piece
of music, this is really as attenuated as
| | 00:40 |
it can be.
Because it comes from a CD.
| | 00:42 |
Before we get into zooming, notice that
if I Right Click or Control Click along
| | 00:47 |
the top here, I can turn off or on one or
other Time display options.
| | 00:53 |
Right now I'm in decimal, which mean I've
got minutes, seconds, and then
| | 00:57 |
thousandths of a second.
You can choose samples, beats and bars,
| | 01:01 |
you can do a frames per second if you
want if you're working on a composition
| | 01:05 |
for a film.
You can choose whatever you want here,
| | 01:07 |
I'm going to keep this option.
On the decimal scale.
| | 01:09 |
Over on the right here I've got my
decibels so my amplitude if I right click
| | 01:14 |
here, you can see I can choose a
percentage if I want instead, or again,
| | 01:19 |
whatever you want.
If I double click to pull up this special
| | 01:22 |
display again You'll notice that here, I
can specify if I'm going to have more or
| | 01:27 |
less logarithmic or linear scaling on the
vertical axis.
| | 01:31 |
So you can see if I go for more linear,
just, you see the relationship between
| | 01:35 |
these numbers here.
In fact if I pull this up, and let's go,
| | 01:38 |
let's go fully linear so you can see it's
a direct line from 1 to 20khz.
| | 01:44 |
Or if I go for fully logarithmic, you can
see it starting at, with a lot of space
| | 01:50 |
given to these low frequencies crushing
up towards the high frequencies.
| | 01:54 |
So, let's make this a little bit more
linear, maybe a little bit more, see I've
| | 01:59 |
got keyboard shortcuts here as well, ctrl
+ alt down or cmd + alt down I think that
| | 02:04 |
will do okay.
So now let's look at our zooming.
| | 02:07 |
First of all we've got some pretty
obvious buttons along the bottom here.
| | 02:11 |
We've got zooming in the amplitude or
zooming out the amplitude, perhaps a bit
| | 02:16 |
more useful for this piece of audio and
then you can see here, we've got...
| | 02:21 |
Alt equals and Alt hyphen to do this and
the reason is that if I want to zoom in,
| | 02:27 |
in time it's regular equals and regular
minus or hyphen to zoom out.
| | 02:33 |
And if you look at your keyboard now just
at the top, not on the right at the
| | 02:36 |
numerical keypad but at the top.
You'll see these buttons, these keys have
| | 02:40 |
a plus and a minus on them.
So, without a modifier key, it's going to
| | 02:44 |
zoom in and out in time.
With the Alt key or Option key it's going
| | 02:47 |
to zoom vertically.
And when I say zoom notice that this
| | 02:50 |
appears to change the height of the
waveform.
| | 02:53 |
Well, it is in terms of display.
But look over on the right here, at the scale.
| | 02:58 |
As I zoom in vertically, you can see the
numbers are changing.
| | 03:01 |
So in fact, the amplitude that's being
displayed isn't changing.
| | 03:05 |
It's the scale that's changing around it.
Coincidentally, at the top of the editor,
| | 03:09 |
I've got a navigator that allows me to
drag and move my view around inside my
| | 03:15 |
wave form.
And I can click and drag the edges of
| | 03:17 |
this if I want to to zoom in.
And I can double click on it to zoom out
| | 03:21 |
to display the entire piece of audio.
And in fact if I zoom in again a little
| | 03:25 |
bit down here, you'll see I have this
button which resets the zoom again.
| | 03:29 |
This pulls me right out to see the full
wave form and the button is repeated up
| | 03:32 |
here at the top right.
Notice if I set my play head somewhere
| | 03:36 |
and zoom in, the play head becomes
centered in view.
| | 03:41 |
When you zoom by default audition is
zooming into the play head.
| | 03:45 |
If I make a selection, just clicking and
dragging here I've got my I beam tool
| | 03:49 |
selected, I can now over on the right
zoom to the in point, that's the
| | 03:54 |
beginning of the selection, zoom to the
outpoint that's the end of the selection.
| | 03:59 |
Or I can click to zoom to display exactly
what I've selected.
| | 04:03 |
This third button here to zoom to a
selection is really useful and if I just
| | 04:07 |
demonstrate this I'm going to click to
zoom out completely.
| | 04:10 |
Now lets say I'm thinking now that's kind
of interesting.
| | 04:12 |
I wonder what's going on with this piece
of audio here.
| | 04:14 |
I can click and drag.
Click to zoom to selection and there we go.
| | 04:19 |
I'm looking at precisely that piece of
the audio.
| | 04:22 |
If we start working with a large amount
of media and you're really such inferred
| | 04:26 |
you might want to take the time to just
hover over these buttons and look at the
| | 04:30 |
tool tips that give you the keyboard
shortcuts.
| | 04:32 |
Notice as well if I just drag up a little
bit here and I'll just click away to deselect.
| | 04:39 |
Notice that if I want to, I can use the
scroll wheel on my mouse to zoom in and out.
| | 04:44 |
No modify key, I'm just scrolling with
the mouse wheel and if I scroll with the
| | 04:48 |
curser over these right hand sets of
numbers, these scales, now I'm scaling
| | 04:53 |
the numbers themselves.
I'm adjusting the scale by which I'm
| | 04:57 |
viewing this media.
Same thing applies, if I just come down a
| | 05:00 |
little bit, if I want to zoom into or out
of things like my waveform amplitude.
| | 05:07 |
I think when one is to start into the
notation the number of ways that your
| | 05:12 |
consuming could be a little bit.
Overwhelming, a little bit confusing and
| | 05:16 |
because of that mouse wheel control, it
can be a little bit confusing as well
| | 05:19 |
because you think you're scrolling and
suddenly you'll not you're instead
| | 05:23 |
zooming into your waveform.
So the number one button I think you
| | 05:26 |
should take from this lesson is this one
right here which is zoom out full and
| | 05:31 |
that's Ctrl or Cmd+\ and that way you
know you can always come back to seeing
| | 05:36 |
the whole of your audio clip.
So, first the zoom controls in the Adobe Audition
| | 05:41 |
| | Collapse this transcript |
| Adding markers| 00:00 |
Markers are a pretty fundamental,
integral part of working in Adobe Audition.
| | 00:05 |
And it's one of those things that I think
a lot of self-taught Audition users don't
| | 00:10 |
really dive into because it just seems
like a workflow they don't need.
| | 00:14 |
But I encourage you to check it out.
Here I'm just going to go into this Clean
| | 00:17 |
up folder in our assets.
And I'm going to put in the interview
| | 00:21 |
noise audio, because it's got some nice
distinct regions in the Spectral Display.
| | 00:27 |
And along the top here, I'm going to
position my play head, and maybe I'll
| | 00:31 |
just go for a section where this very
severe background noise begins.
| | 00:35 |
You can see all this fuzzy color here is
background noise, and if I just play this
| | 00:39 |
section, you'll hear what I mean.
>> When at first I arrived, I was.
| | 00:41 |
Sounds pretty awful, so, I'm going to
click somewhere near the beginning and
| | 00:48 |
I'm just going to press the M key, M for
marker.
| | 00:50 |
And that's going to add a marker at the
top of the display.
| | 00:54 |
In fact, if I just go to my Markers
panel.
| | 00:56 |
You'll see that that appears as well.
If I want to I can click to rename this.
| | 01:02 |
I'm clicking, pausing, clicking again and
let's just call this Noise Start.
| | 01:07 |
In fact, let me add a couple of other
ones.
| | 01:10 |
There's this noise of a telephone ringing
in the background as well.
| | 01:14 |
>> Committed to health and fitness.
>> Definitely want to get rid of that
| | 01:17 |
so I'll press M again and this time I
want to specify the duration that I'm
| | 01:22 |
going to work on.
So if we look over in the Markers panel
| | 01:25 |
you can see if I just pull out the
heading here.
| | 01:27 |
I'm just clicking between.
The two headings, just so I can see the
| | 01:31 |
full clip name.
You can see I have got Noise Start and
| | 01:34 |
Marker 02.
I'm just going to click again and call
| | 01:37 |
this Telephone.
Now, I've got a start but not an end or a duration.
| | 01:42 |
So, I'm going to click and drag.
Anytime, in Audition, you see numbers
| | 01:45 |
with a dotted underline, just like these,
you can click and type or you can click
| | 01:50 |
and drag, which I'm going to do now.
I'm going to give this a duration.
| | 01:54 |
It's a little bit too long.
Let's pull that back.
| | 01:56 |
You can see it animating up here in the
display.
| | 02:00 |
Let's pull that in.
In fact, what I can do, is just click and
| | 02:03 |
drag that inside the display.
So that, that pretty much goes to the end
| | 02:07 |
of that telephone ring.
And now you can see I've got an end point
| | 02:11 |
and a duration.
I'm just going to pull out the display a
| | 02:14 |
little bit so you can see the Type menu.
If I scroll over you can see there's room
| | 02:18 |
for a description.
So I can say here.
| | 02:20 |
This is an amazing marker.
Now one thing to know about the markers
| | 02:26 |
that you add to your audio clips, is that
they are in fact added to the metadata
| | 02:30 |
for the file.
They're not just added in some abstract
| | 02:34 |
virtual way inside Adobe Audition.
For this reason, you'll notice that I've
| | 02:38 |
got a little asterisk next to the file
name, that indicates that the file hasn't
| | 02:42 |
been saved even though changes have been
made.
| | 02:45 |
I haven't modified the way the audio
sounds, but I have added this metadata.
| | 02:50 |
This is useful because it means if you.
Open this file in other applications that
| | 02:54 |
support this kind of metadata.
Premier Pro from Adobe is a good example.
| | 02:58 |
The information will still be available.
If I want to, I can remove a marker by
| | 03:04 |
selecting it in the panel and hitting
Delete.
| | 03:07 |
Or just undo that with Ctrl+Z or Cmd+Z.
I could also select a marker, so I'm just
| | 03:12 |
clicking here in the Waveform Editor
View, and I'm pressing Ctrl or Cmd+0.
| | 03:18 |
It has the same effect, which is undo
again with Ctrl or Cmd+Z.
| | 03:22 |
Under the Type menu I can specify if this
is going to be a regular Cue Point marker
| | 03:26 |
which is just a marker that you can use
in Audition.
| | 03:29 |
Or a sub clip which means that if I
import this audio file into Premier Pro,
| | 03:34 |
this section of audio where it has a
duration will come up as a subclip.
| | 03:39 |
It will be a separate item in the bin in
Premier Pro.
| | 03:42 |
And this is very useful if you're
working, for example, with a long piece
| | 03:45 |
of interview.
And you want to separate that interview
| | 03:47 |
into pieces using Audition.
And then have each of those pieces appear
| | 03:52 |
as a separate item for you to work with
in your edit.
| | 03:54 |
This is how you would do it.
Just choose the Subclip type.
| | 03:57 |
I can also specify a CD track.
Pretty obviously, if I make a CD in
| | 04:01 |
Audition, I can use this section of the
audio as its own track and I can specify
| | 04:06 |
that this is a Cart Timer, in which case
I can now.
| | 04:10 |
Specify a particular code or a name that
I'm going to use for my automation in the
| | 04:15 |
radio station.
If I want to, I can use these markers
| | 04:19 |
that are associated with my audio clip in
a number of other interesting ways.
| | 04:23 |
I'm just going to set this back to a Cue
so you can see I got that simple duration.
| | 04:28 |
If I select one or more of these then I
can lasso them.
| | 04:31 |
Some extra buttons become available at
the top of the Markers panel.
| | 04:35 |
Obviously I have the option to add a
marker, and to delete the selected markers.
| | 04:38 |
I can also merge the selected markers
into one long marker.
| | 04:41 |
Go, just don't do that, select again.
I can also insert these markers into a
| | 04:46 |
playlist which is a separate list of
sections of audio that you're going to
| | 04:50 |
combine perhaps later.
Into something like a CD.
| | 04:53 |
Here I can choose to export these markers
as separate files, so again maybe I've
| | 04:57 |
got a long, long interview and I want to
export each part into its own file.
| | 05:01 |
And here I've got the option to insert
these markers as separate pieces of
| | 05:05 |
audio, into a multi-track session.
So you're able to use these markers as
| | 05:10 |
pieces of virtual audio that you can make
use of for other purposes.
| | 05:16 |
I think the key takeaway from this
lesson, though, is the letter M.
| | 05:20 |
M is a very useful keyboard shortcut for
highlighting sections of your audio you
| | 05:25 |
want to work on.
You can always name them and it makes it
| | 05:27 |
easier to navigate your media later.
| | 05:30 |
| | Collapse this transcript |
| Using the Paintbrush Selection tool| 00:00 |
As well as the regular Selection tools.
The IB, Marquee, and Lasso or Lasso.
| | 00:05 |
We also have a Photoshop style paint
brush selection tool and I'd like to just
| | 00:10 |
take a moment to look at this as well.
I'm going to go to my Assets folder and
| | 00:14 |
Clean up and I'm going to open up this
Interview-Noise_Audio.
| | 00:18 |
Its a perfect clip to demonstrate this
and just resize a little bit.
| | 00:23 |
If you are lost in the interface,
remember, you can always go back to the
| | 00:25 |
Window menu, choose Workspace, and Reset
the Default Workspace.
| | 00:29 |
Make sure you're in the default workspace
for this.
| | 00:31 |
And now you'll notice if I have this
Brush tool selected, I've not got a
| | 00:36 |
couple of extra options that appear.
I've got a Size, in pixels, and an Opacity.
| | 00:42 |
Just to illustrate, I'm going to draw
across this telephone ringtone that's in
| | 00:48 |
the background.
I'll just click once, without dragging,
| | 00:50 |
so you can hear this if I play through
it.
| | 00:53 |
>> Your company, committed to health
and fitness, Geoff.
| | 00:56 |
>> So it's pretty clear that this shape
on screen is a telephone ring.
| | 01:01 |
I'm just going to resize a bit, maybe
I'll just Zoom in a little.
| | 01:05 |
So, let's come in a little bit more So
it's nice and clear drag the navigator over.
| | 01:11 |
Now, if I want to draw across this with
the Paintbrush tool, I just Click and
| | 01:16 |
Drag and there it is.
I'm just going to drag back again as well.
| | 01:22 |
So you can see, I can make any shape I
like using this tool.
| | 01:28 |
Having made that selection, you'll notice
that at the top here and this applies to
| | 01:32 |
all of the selection tools, I also have
an Invert button.
| | 01:35 |
And if I Invert, you can see within the
range of time that I've selected, I'm
| | 01:40 |
reversing the selected frequencies,
pretty cool.
| | 01:43 |
Now that I've made this selection with
the Paintbrush tool, any adjustments I
| | 01:48 |
make to my audio will just be applied
within the selection.
| | 01:51 |
Now just click away to deselect.
That's a single click.
| | 01:54 |
I'm going to Click and Drag to drop the
opacity down really low, to about, maybe
| | 01:58 |
about 10%.
And now, I'm going to drag across this
| | 02:01 |
again, and if I just come, I'll just
zigzag.
| | 02:05 |
Backs and forwards that's my beautiful
artwork there you go and hopefully you
| | 02:09 |
can see in the Cross-over sections.
This has doubled up the intensity of the selection.
| | 02:14 |
What's going to happen now, is if I apply
any effects or make any adjustments,
| | 02:19 |
they're going to be applied with that
level of wet and dry mix if, you like.
| | 02:24 |
It will be applied 10%, or where there's
a crossover, 20%.
| | 02:29 |
This allows you to make very, very new
ones/g, subtle selections of your audio.
| | 02:33 |
For example, here where I've got this
little peak of speech.
| | 02:36 |
I can Click and Drag and say, no I really
want to work on the base notes, but not
| | 02:40 |
very much on the high frequencies.
And I know it's pretty subtle, but if I
| | 02:44 |
zoom in just a little bit more, so you
can see.
| | 02:49 |
Maybe like that, you can see I've got
some translucent areas in the selection
| | 02:53 |
toward the high frequencies and some
solid areas at the bottom.
| | 02:56 |
So I'm defining the intensity with which
any effects that I apply, or any audio
| | 03:01 |
level adjustments that I apply will be
calculated and it's pretty obvious here.
| | 03:06 |
You can see I've got a Size adjustment.
If I drag this down, I get a smaller line.
| | 03:10 |
Let's pull this opacity up to the full
50%.
| | 03:13 |
And now, if I draw, I'm getting a thin
line.
| | 03:17 |
If I drag this out, I get a very, very
big line, not too complex.
| | 03:21 |
It's important to note the distinction
between this Paintbrush Selection tool
| | 03:25 |
and the tool next to it which is the Spot
Healing Brush Tool.
| | 03:28 |
The Spot Healing Brush Tool will remove
sounds within a spectral display you just
| | 03:34 |
highlight a specific sound and remove it.
We'll perhaps come to that in another lesson.
| | 03:38 |
But just for now, I will go with the
Paint Brush Selection Tool.
| | 03:42 |
And just explore the kinds of accurate
selections you can make with this
| | 03:46 |
advanced tool.
| | 03:47 |
| | Collapse this transcript |
|
|
5. Standard Waveform Audio AdjustmentsManually adjusting audio level| 00:00 |
Audition makes it really easy to adjust
the amplitude, the volume of a clip that
| | 00:05 |
you're working with in the waveform
display.
| | 00:07 |
Let's take a look at a couple of
approaches to this.
| | 00:10 |
Under my assets, I've got this
millionaire mix.
| | 00:13 |
I'm going to double click to open this up
and once the MP3's been read, you can see
| | 00:18 |
this is a pretty noisy clip.
I've got my left and right channels and
| | 00:22 |
down here you can see my spectral
display.
| | 00:24 |
It's pretty noisy right the way across
the frequency spectrum.
| | 00:28 |
What I'm looking for is this little panel
here.
| | 00:31 |
This is the so called heads up display
and this is here to allow me to make
| | 00:36 |
adjustments to the amplitude, to the
volume, of either the whole clip or the
| | 00:40 |
selections that I've made.
Notice that it's got a little pin here on
| | 00:45 |
the right hand side.
Now, if I turn that pin off and then
| | 00:48 |
maybe make a selection, you can see when
I make the selection, the heads up
| | 00:52 |
display jumps to the middle of it.
Wherever I click and drag, I get the
| | 00:56 |
heads up display.
Now personally, I find this a little bit
| | 01:00 |
intrusive, so I'm going to turn that pin
on.
| | 01:02 |
I'm going to move the heads up display
out of the way and you'll see now it just
| | 01:06 |
stays wherever I put it.
With nothing selected if I now click and
| | 01:11 |
drag on this decibel scale you can see I
immediately get feedback.
| | 01:17 |
That shows the changes to the audio level
in terms of adjustments to the waveform,
| | 01:21 |
and now let's go for maybe minus 6 DB.
I release the mouse button and the change
| | 01:28 |
is calculated, and also the entire clip
is selected.
| | 01:32 |
So I'm going to click to deselect, and
you can see right away now there's my
| | 01:36 |
shortened waveform.
I've reduced this by 6 DB and it's pretty
| | 01:40 |
subtle, but the spectral display has got
a little bit darker.
| | 01:44 |
And it should do, because all of the
frequencies have gotten a little bit quieter.
| | 01:47 |
Now if I press Ctrl+Z or Cmd+Z, just
watch the spectral display when I do this
| | 01:52 |
and then I'll deselect.
You see it gets a little bit brighter.
| | 01:56 |
Now if I make an individual selection,
which I'll do here, and now click and
| | 02:00 |
drag you'll see it's pretty obvious
what's going on.
| | 02:03 |
I'm just reducing the amplitude of the
selection.
| | 02:07 |
And again, if I click away it's much more
obvious now in the spectral display where
| | 02:11 |
the darker region is.
And what's beautiful about this is that
| | 02:15 |
it applies to selections within the
spectral display as well.
| | 02:20 |
Now, I'm just going to select this clip,
hit the delete key to get rid of it from
| | 02:24 |
my files panel.
I get the option to save changes.
| | 02:27 |
I'm not going to save changes.
Remember that Audition is a destructive
| | 02:30 |
editing system, so changes that you make
are made to the file itself on your hard drive.
| | 02:35 |
Now, I'm going to go to this cleanup
folder and open up interview noise audio.wav.
| | 02:40 |
Let's double click to open that up.
And now, I'm going to just resize a bit
| | 02:44 |
so you can see what's going on here very
clearly.
| | 02:46 |
Here's my telephone ringing in the
background that I want to get rid of in
| | 02:51 |
this clip, let's have a little listen.
>> Drink company committed to health
| | 02:54 |
and fitness.
>> Now, there are some wonderful noise
| | 02:57 |
reduction, noise cancelling effects
inside of Audition.
| | 02:59 |
But let's say I just want to reduce the
amplitude of that section of my audio.
| | 03:04 |
Well, I need to make a selection.
I'm going to just pick up the Marquee
| | 03:08 |
tool here.
I can now click and drag around this
| | 03:12 |
section of the audio.
You see it's snapping to the four second
| | 03:17 |
mark at the top there which is making the
selection a little bit more difficult.
| | 03:21 |
So I'm going to turn off snapping by
toggling this button at the top right
| | 03:26 |
hand corner of the display.
And now I get a free selection.
| | 03:30 |
That's fine.
And now, if I reduce the volume, and I'm
| | 03:33 |
going to make this pretty obvious.
You might make this a little bit more subtle.
| | 03:36 |
I'm going to click and drag to reduce the
amplitude by quite a lot, maybe about 12 DB.
| | 03:43 |
And now, if I click away, again, you can
clearly see the darkened region in the
| | 03:47 |
spectral display.
You could do this for any piece of the
| | 03:50 |
audio you like and what's beautiful about
making these adjustments in the spectral
| | 03:54 |
display is that I've left alone all of
the other frequencies.
| | 03:58 |
Everything else is clean.
I've just selected that precise part that
| | 04:02 |
I wanted to reduce.
So this is how you can manually adjust
| | 04:07 |
the audio level of your clips inside
Adobe Audition.
| | 04:11 |
| | Collapse this transcript |
| Normalizing audio level| 00:00 |
As well as allowing you to manually
adjust the level of audio for your clips
| | 00:05 |
in Audition.
You can also automatically set maximum
| | 00:09 |
peak levels based on whatever your
delivery requirements are for your media.
| | 00:13 |
So, let's take a look at how to do that.
Here in my assets under clean up.
| | 00:18 |
I'm going to pick up first of all this
interview noise audio, because it's not
| | 00:22 |
that attenuated, it's not that loud.
Let's pick up as well under Assets.
| | 00:26 |
Let's take this Millionaire Mix which is
really loud.
| | 00:30 |
I'm just double-clicking to open these
up.
| | 00:32 |
And let's say I'd like to set both of
these to peak at around minus 3 db.
| | 00:37 |
So, that's 3 decibels below fully
attenuated, fully loud.
| | 00:40 |
I'm going to go to my Window menu.
And I'm going to bring up this Match
| | 00:44 |
Volume panel and it actually kind of
walks you through the process.
| | 00:48 |
It's very easy to use.
I'm going to select both of these pieces
| | 00:52 |
of audio, and I'm going to drag them into
the middle of the Match Volume panel.
| | 00:56 |
The first thing I want to do, just for my
own interest, is click this button right here.
| | 01:00 |
Now, before I get to that, if I just
select one of these, you can see I've got
| | 01:04 |
the option to add files.
That allows me to browse the files
| | 01:07 |
directly on my hard drive.
So, I can use this panel as kind of a
| | 01:10 |
stand-alone part of the application, if I
want.
| | 01:13 |
I can delete the selected items from this
panel.
| | 01:17 |
It's not going to delete anything on the
hard drive, it's just going to remove
| | 01:19 |
them from the list or remove all of the
files, I've got the trash can icon for those.
| | 01:24 |
And then, I've got this compute average
volume button.
| | 01:27 |
If I click that, very quickly, Audition
is going to analyze the audio.
| | 01:31 |
And if I scroll over here, you can see
I'm getting very interesting information
| | 01:36 |
about these two clips.
Now, ITU Loudness, the new loudness scale
| | 01:41 |
is being rolled out across broadcasters.
And it's a new way of measuring audio
| | 01:47 |
level for broadcasting television.
And it uses loudness units.
| | 01:51 |
In fact, it's loudness units relative to
digital full scale.
| | 01:55 |
So that's the fs is the full-scale part.
So, we've got the new LUFS standard,
| | 01:59 |
we've got Decibels, Total RMS, Peak, True
Peak Loudness, and so on, and so on, and
| | 02:04 |
so on.
We've also got export settings here,
| | 02:06 |
which is very, very interesting.
Now, down at the bottom, I've got this
| | 02:10 |
option to export.
And if I click on the Export Settings
| | 02:13 |
button, you can see I've got all these
controls that are very, very similar to
| | 02:17 |
creating a new audio file in the first
place, which makes sense because that's
| | 02:21 |
what we're talking about doing.
We can specify the Format and Sample
| | 02:24 |
Rate, and so on, and so on.
I just Cancel out of that for now.
| | 02:28 |
I don't intend to export these files.
I'm going to modify the original, so I'm
| | 02:32 |
going to turn off the Export option here.
And what I'm interested now is at the top
| | 02:37 |
match volume settings.
If I click on this button, it actually
| | 02:41 |
just brings out the lower part of the
interface.
| | 02:43 |
There's another one of these little grab
handles.
| | 02:45 |
Just like the control we've got to bring
up the spectral display.
| | 02:48 |
And this grab handle is going to display
how I'm going to set the volume for these clips.
| | 02:55 |
Remeber, this could be 50 or 100 clips.
You could have a whole batch of pieces of
| | 02:59 |
audio that you want to preadjust the
level or maybe you've got a range of
| | 03:05 |
voice over clips, for example.
And they were recorded on different days,
| | 03:08 |
maybe even with different voice over
artists.
| | 03:11 |
And you want to be certain that the level
is consistent between them before you use
| | 03:15 |
them in a television program or perhaps
different singers that contributing to
| | 03:19 |
our music piece.
So, we're going to choose to match two.
| | 03:23 |
And we're going to specify the scale we
want.
| | 03:26 |
And there's a whole list of these.
Now, this is probably not the place to
| | 03:30 |
have a detailed description of each of
these different kinds of audio.
| | 03:34 |
There are more or less popular ones.
The ITU.
| | 03:36 |
LUFS system, the Loudness Scale, is the
new one being used by broadcasters.
| | 03:41 |
You might choose just Peak Amplitude,
which would mean, whatever the loudest
| | 03:46 |
part of the audio is.
It'll be adjusted exactly by the right amount.
| | 03:51 |
The volume will be changed by exactly the
right amount.
| | 03:53 |
So, that peak of the audio think of a
mountain peak, to match the volume that
| | 03:58 |
you specify.
This is old school normalization as it's called.
| | 04:02 |
In fact, lets go for this option.
I'm just going to click here and I'm
| | 04:05 |
going to type in minus 3.
And I'm going to tab out, so I've got
| | 04:09 |
minus 3 dB.
And then, I've got this option for limiting.
| | 04:12 |
Now, limiting is a system where you
specify an amplitude ceiling, a maximum
| | 04:18 |
volume that you want to accept, and
nothing beyond that level will be allowed.
| | 04:23 |
If you turn on limiting, it means that if
Audition doesn't manage to do a perfect
| | 04:27 |
job of identifying the peaks of your
level, you're still not going to go over
| | 04:31 |
that maximum amplitude that you want.
And this is a pretty important thing to do.
| | 04:36 |
You'll notice we've gotta Look-Ahead Time
option hear in milliseconds and the
| | 04:40 |
release time.
And this means that Audition is going to
| | 04:42 |
look ahead up to 12 milliseconds at a
time.
| | 04:45 |
And it's going to take 200 milliseconds,
2 5ths of a second, to release any
| | 04:50 |
adjustments that it makes to the audio.
So, if there's a peak, it'll pull down
| | 04:54 |
the amplitude by the right amount.
And then slowly release it.
| | 04:56 |
Makes a more natural sounding adjustment.
The shorter the Look-Ahead Time the more
| | 05:01 |
accurately Audition will calculate the
adjustments that it needs to make.
| | 05:05 |
But the more likely you're going to get
spikes and troughs in the audio level.
| | 05:10 |
The longer the Look-Ahead Time, the
greater the chance that the audio level
| | 05:14 |
will peak over the level that you want.
Because it just doesn't have time to
| | 05:19 |
adjust the audio in the scale that it's
working to in time.
| | 05:23 |
So, this is why you'd want to turn on the
limiting, just to avoid any possible risk
| | 05:28 |
of peaking over that level.
Now, purists will say that using limiting
| | 05:33 |
has an unwanted impact on the natural
flow of the audio, the natural amplitude
| | 05:37 |
adjustments of the audio.
But, personally, I think it's fantastic.
| | 05:41 |
It just means that you're avoiding
mishaps if you're in a hurry.
| | 05:44 |
In any case, I've got these settings as I
want them, and you may want to do your
| | 05:48 |
own research into what each of these
different loudness scales mean.
| | 05:53 |
There's loads of information available
about that.
| | 05:56 |
I'm going to click run.
It's a pretty fast process.
| | 06:00 |
And now, you can see, this is perhaps
more obvious if I open up the interview
| | 06:03 |
noise clip.
You can see that peak there.
| | 06:06 |
In fact, let's make that even more
obvious.
| | 06:08 |
Let's adjust this to 0 dB.
Now, again I'm going to click Run.
| | 06:13 |
And there, you can see if I just zoom in,
I'm using my mouse wheel here.
| | 06:17 |
Now, the loudest part of that audio is
peaking right at 0 dB.
| | 06:22 |
But because of the match two mode that
I've chosen, this hasn't adjusted the
| | 06:28 |
other peaks also to be 0 dB.
It's not going to make average peak of 0 dB.
| | 06:32 |
It's going to take the loudest part of
the audio and adjust everything relative
| | 06:37 |
to that.
So, it's going to make a decibel adjustment.
| | 06:40 |
And if I just expand the stage heading
here, you can see what happens.
| | 06:44 |
We've added 3 dB to both pieces of audio.
Notice, I've got an asterisk next to both
| | 06:49 |
clips here.
They haven't been saved yet.
| | 06:51 |
And that means that if I close these
files without saving, the original audio
| | 06:56 |
level will apply.
So, that's how to automatically adjust
| | 06:59 |
audio level using Adobe Audition.
| | 07:01 |
| | Collapse this transcript |
| Adding fades| 00:00 |
If you have audio that starts quite
abruptly, and you'd like to add a fade,
| | 00:05 |
Audition makes this very, very easy.
I've got a piece of music open here.
| | 00:09 |
Simply Falling mix.
This is in the assets folder with the
| | 00:12 |
other media.
And if I just zoom into the start, I'm
| | 00:15 |
just going to drag the end of the
navigator here to zoom in.
| | 00:18 |
Just position the play head at the
beginning.
| | 00:19 |
And if I press play, I'm pressing the
space bar here.
| | 00:22 |
You can hear it, kicks in pretty fast.
(MUSIC) Now, it's quite a nice opening to
| | 00:31 |
a piece of music, but let's say, in, my
creative genius I decide that I would
| | 00:36 |
rather it faded in.
There's a couple of different ways of
| | 00:39 |
working this out.
First of all there's the super easy way.
| | 00:42 |
I know it's very, very subtle, but in
fact, let me see if I can open another
| | 00:46 |
piece of music or another piece of audio
just so you can see this.
| | 00:49 |
Let's try the, maybe let's pick up this
piece because it's quiet at the beginning.
| | 00:53 |
So I've just opened up the
SpeechSiren.wav audio in the Clean Up folder.
| | 00:57 |
And you'll notice that where it's dark,
I've got this square broken into two
| | 01:01 |
triangles, one at the top left and one at
the top right.
| | 01:03 |
And now I've pointed these out, you're
going to spot them on every piece of
| | 01:07 |
audio you open.
And if I hover the mouse over this one,
| | 01:10 |
you can see it's called fade in, and this
one's fade out.
| | 01:12 |
Now, I'm going to switch back to the
Simply Falling track, because it's a bit
| | 01:15 |
more obvious on there, and let me pull my
Heads Up Display out of the way.
| | 01:20 |
Just watch what happens as I click and
drag on this icon.
| | 01:23 |
So, I'm just clicking, and I'm going to
drag right the way over.
| | 01:28 |
And you can see very quickly what's
happening here is I'm creating a fade in.
| | 01:34 |
Now before I release the mouse button.
I mean I've made a 35 second fade in here
| | 01:38 |
which is a little bit longer than I
really need.
| | 01:40 |
But before I let go, notice as I drag up
I'm reshaping that fade, you see I've got
| | 01:47 |
the linear value there and as I dragged
up towards the top this is making, I
| | 01:52 |
suppose, a negative logarithmic fade.
As I drag down, you're getting a classic
| | 01:56 |
logarithmic fade, so I'm creating this
curve to adjust the way the fade is going
| | 02:01 |
to be applied.
And of course, zero is just a linear
| | 02:04 |
straight fade.
If I drag over to nearer the beginning
| | 02:08 |
here, maybe let's make this a little bit
curved, a little bit logarithmic.
| | 02:13 |
That'll do about minus 25.
And then I'm releasing the mouse button.
| | 02:18 |
And what's beautiful about doing this in
Audition is that you get that update in
| | 02:22 |
the waveform display right away.
You can see exactly what's going on.
| | 02:26 |
So I'm just going to click back to the
start.
| | 02:28 |
And I'll press play and you can hear the
difference.
| | 02:31 |
(MUSIC) Lovely, and there are a couple of
other ways of doing this.
| | 02:42 |
If we go up to our Effects menu and go to
our Amplitude and Compression section,
| | 02:49 |
well we've got a couple of options.
We've got a Fade Envelope and a Gain Envelope.
| | 02:53 |
Now, if I chooe Fade Envelope, for
example, and now of course it's giving me
| | 02:58 |
the fade right the way through the audio.
It's made the adjustment for me.
| | 03:02 |
And this is based on that smooth fade in,
and what's happened here is because I
| | 03:07 |
didn't make a selection the effect has
presumed I want to make the adjustment
| | 03:11 |
for the entire clip.
Now what I'm going to do is I'm going to
| | 03:15 |
click close without applying this.
I'm going to select the end of this music.
| | 03:19 |
Let's zoom right out.
I'm going to double click on the
| | 03:21 |
navigator, and just select the end of
this audio.
| | 03:24 |
Let's go back to Effects > Amplitude and
Compression > Fade, and I'm just going to
| | 03:29 |
choose a Smooth Fade Out.
And I hope you can see here, maybe if I
| | 03:34 |
can zoom in a little bit more.
You can see what's happening is, this
| | 03:39 |
yellow line has been drawn to show what
fade effect is going to be applied.
| | 03:44 |
And, in fact, if I click on this yellow
line, I can drag it in situ, and I can
| | 03:49 |
reshape it any way I want.
And I can create any kind of stepped
| | 03:54 |
fade, if I like.
See, I've got this option to make it
| | 03:57 |
spline curves, or linear lines between
these control points.
| | 04:02 |
I can play to have a listen.
It's going to be pretty long, so I won't bother.
| | 04:06 |
I can loop play and I can turn the effect
off and on.
| | 04:09 |
So I have presets up here and then I can
modify them myself and then if I click
| | 04:14 |
Apply, there you can see it's applied
that fade out towards the end of the audio.
| | 04:19 |
Let me zoom back out a little bit.
If I go back into my Effects.
| | 04:23 |
Go back into Amplitude and Compression
and this time choose Gain Envelope, you
| | 04:27 |
can see now rather than having the audio
begin at the bottom and end at the top,
| | 04:32 |
or vice versa.
I've just got this yellow line flowing
| | 04:35 |
right the way through the audio.
And exactly the same way, I can now go in
| | 04:39 |
and begin to make adjustments.
Now, what I did just a second ago there,
| | 04:43 |
is make a selection.
And you can see when I made the selection
| | 04:47 |
Audition compressed my adjustments into
that selection region.
| | 04:50 |
You need to be a little bit careful about
that when working with these effects.
| | 04:54 |
It's pretty visual, you'll see it when it
happens.
| | 04:57 |
So let me add some pretty extreme
adjustments here.
| | 05:00 |
Let's make this very loud, and very,
very, very quiet.
| | 05:03 |
Let's add another one there.
I'll click Apply, takes a moment to be calculated.
| | 05:08 |
And then you can see this very, very
obvious adjustment.
| | 05:11 |
I'll just deselect by clicking and you
can see I've made these very strong
| | 05:15 |
adjustments to the gain in this audio.
So, you can add fades very easily at any
| | 05:20 |
time by clicking on these handles at the
top right and left of the audio waveform display.
| | 05:26 |
Or you can use dedicated effects for the
purpose.
| | 05:29 |
| | Collapse this transcript |
| Using the clipboard| 00:00 |
Audition provides a more advanced use of
the clipboard for copying and pasting
| | 00:05 |
than you might be used to if you've
historically perhaps just worked with
| | 00:09 |
things like word processors.
It's a powerful feature in Audition that
| | 00:14 |
you'll probably learn to love as much as
I do.
| | 00:16 |
To demonstrate this, I'm going to start
out by taking a little piece of this Mary
| | 00:22 |
Had a Little Lamb media.
So, this is under the cleanup directory,
| | 00:26 |
in our assets.
I'm going to double click to open up.
| | 00:29 |
Now the most obvious use of clipboard is
just to copy and paste.
| | 00:33 |
So if we take here for example I've got
three notes played.
| | 00:37 |
Let's just select this and I'm using the,
in fact I'm using the Marquee tool, but
| | 00:42 |
because I'm working on the waveform it's
giving me the I-beam.
| | 00:45 |
You use the Marquee tool in the spectral
display.
| | 00:48 |
And if I just play this so you can hear
it.
| | 00:51 |
(MUSIC) Not much to it.
I'm going to press Ctrl or Cmd+C, I can
| | 00:57 |
get to this shortcut by going to the Edit
menu as well, there's my copy.
| | 01:01 |
And now I'm just going to go to the end.
So I'm just going to click here and I'm
| | 01:05 |
going to press the End key on my keyboard
to jump to the end, or I can press the
| | 01:08 |
Alt and the Right Arrow key as well.
And I'm going to press Ctrl or Cmd+V and
| | 01:13 |
then I've got another copy.
And now I've got this selection here and
| | 01:16 |
if I want to use the keyboard to avoid
having to deselect and then press the
| | 01:21 |
keys again.
I can just press the G key to remove a
| | 01:24 |
time selection.
I'll show you what I mean.
| | 01:26 |
I'm going to press Ctrl or Cmd+V again,
so I've got another copy of these three
| | 01:30 |
notes, and now I'm going to press G.
So, you can use the mouse to make
| | 01:34 |
selections and you can use the G key to
remove them.
| | 01:38 |
I'll grant you this isn't exactly an
exciting musical composition.
| | 01:41 |
I've just got six lots of the same notes
here, but look at this.
| | 01:44 |
I'm going to select another section of
this audio.
| | 01:47 |
I'll just play this for you as well.
(MUSIC) Okay.
| | 01:50 |
Now, under the Edit menu you will notice
that I've got Set Current Clipboard as an
| | 01:57 |
option and I've got up to five different
clipboards available in Audition.
| | 02:02 |
And notice that each of these has its own
keyboard shortcut and I'm on a PC so,
| | 02:06 |
it's Ctrl+1, 2, 3, 4, 5, this will be
Cmd+1, 2, 3, 4, 5 on a Mac.
| | 02:11 |
So by using these keyboard shortcuts or
by using this menu I can toggle between
| | 02:16 |
up to five different clipboards.
And I'm going to toggle to the second one now.
| | 02:21 |
So I'm going to choose clipboard number
two, I'm going to press Ctrl or Cmd+C.
| | 02:26 |
If I go back to that menu again, You can
see now that 3, 4, and 5 are empty, but 1
| | 02:30 |
and 2 are not.
So, now that I've loaded these two
| | 02:34 |
clipboards, I can use them and toggle
between them really easily.
| | 02:38 |
So I'm going to jump to the end and press
the End key, here.
| | 02:40 |
I'm going to press Ctrl+V.
Now, I've got that alternative set of
| | 02:44 |
three notes.
Let's jump to the end again.
| | 02:48 |
This time, I'm going to press Ctrl or
Cmd+1 to switch to the first clipboard.
| | 02:52 |
Press Ctrl or Cmd+V again.
And I guess it's not super visible, but
| | 02:55 |
hopefully, you can see.
I've now alternated between these two
| | 02:59 |
sets of notes.
But when you're working on very simple
| | 03:02 |
media of this kind this might not seem so
impressive, but if you're working on very
| | 03:06 |
long media you may find it very, very
useful to load up specific sounds.
| | 03:11 |
Not least, atmos, if you've got
background sound from a location, the hum
| | 03:15 |
of the air conditioning, the traffic
outside.
| | 03:19 |
If you ever need to replace a piece of
the audio in a sound file, you can just
| | 03:22 |
load up some of that background atmos
into your clipboard.
| | 03:27 |
Maybe even five different durations and
you can lay it down on top of your media
| | 03:31 |
very easily.
So that's working with the clipboard in
| | 03:36 |
Adobe Audition.
| | 03:37 |
| | Collapse this transcript |
| Using Mix Paste| 00:00 |
In addition to using the clipboard, or in
fact, the five different clipboards
| | 00:04 |
available in Adobe Audition.
You can also use a special feature called
| | 00:09 |
Mix Paste to combine different pieces of
audio in the waveform of view.
| | 00:14 |
To show you what I mean, I've set up a
clip here that has just a 440 Hertz tone.
| | 00:19 |
So if you look in the Media Folder under
Assets.
| | 00:22 |
You'll see here 440 hertz tone.wav, and
if I play this, you can hear it's pretty simple.
| | 00:27 |
(SOUND).
There we go, 440 hertz, and I've
| | 00:32 |
generated that using Audition.
If I go back to this Mary Had a Little
| | 00:37 |
Lamb clip, or complete clip, which is now
under our sessions, under standard wav
| | 00:45 |
form audio adjustments.
There we go, let's just resize this a bit
| | 00:49 |
so you can see it.
If I open this up, at the end of this
| | 00:53 |
clip we've got several different
instances of the same notes playing.
| | 00:56 |
I'm just going to highlight one section
of this and I'm going to press Ctrl+C or Cmd+C.
| | 01:00 |
So that's in the clipboard now.
I'm now going to go over to the 440 hertz
| | 01:02 |
tone, I'm double-clicking on it.
Let's just move the heads-up display out
| | 01:07 |
of the way for a second.
Put the play head a bit little earlier on.
| | 01:14 |
And now, I want to paste that piece of
media from the clipboard into this 440
| | 01:20 |
Hertz tone.
But I want to blend the two together.
| | 01:22 |
I don't want to insert, I want to blend
them.
| | 01:25 |
To do this, I'm going to go to the Edit
Menu and I'm going to choose Mix Paste.
| | 01:29 |
And I want to draw your attention to a
keyboard shortcut here.
| | 01:31 |
It's Ctrl+Shift+V instead of Ctrl+V or
Cmd+Shift+V instead of Cmd+V, so you've
| | 01:38 |
got an alternate version of pasting.
I'm just going to choose this option and
| | 01:42 |
it brings up the Mix Paste menu.
Most of these options are pretty straightforward.
| | 01:46 |
We're now going to blend together the
copied audio and the existing audio.
| | 01:52 |
And you can see, we can specify the
percentage of each of these that are
| | 01:55 |
going to be used to create this new audio
composition.
| | 01:59 |
I could also invert the copied audio if I
want, or even apply a cross fade between them.
| | 02:04 |
When I'm pasting, I can choose to insert,
that makes it particularly useful to have
| | 02:09 |
to cross fade between the two.
To overlap, that means blending the two
| | 02:13 |
together which is what I'm going to do.
To override which is just going to
| | 02:16 |
replace the original audio or to modulate
which is another kind of mix but it
| | 02:21 |
creates a bit more variation between the
two signals to make them more distinct
| | 02:25 |
from one another.
I've also got the option here of pasting
| | 02:28 |
multiple times.
I'm going to turn that off.
| | 02:30 |
But if I wanted to, I could just repeat,
and repeat, and repeat.
| | 02:33 |
Imagine if you had a drumbeat that you
wanted to repeat, a significant number of
| | 02:36 |
times in the making of a component that
you're going to use in music mix.
| | 02:40 |
I can also choose different audio
sources.
| | 02:43 |
So here, I can specify one of the two
clipboards that I'm currently using.
| | 02:47 |
These grayed-out ones happen to have
nothing in them, or I could browse to a
| | 02:52 |
specific file.
In this case, I'm going to choose the
| | 02:54 |
clipboard number one.
I'm going to choose overlap, and I'm
| | 02:57 |
going to click OK.
Now, to give you an example of what
| | 03:01 |
happens here.
If I now click back a little bit in the
| | 03:04 |
timeline, and press the space bar to
play, you'll hear both sounds together.
| | 03:09 |
(SOUND).
Okay, I'm not going to win any awards for composition.
| | 03:16 |
But look at this, I'm now going to press
Shift+Ctrl or Shift+Cmd+V.
| | 03:20 |
This is going to bring up Mix Paste
again.
| | 03:22 |
This time, I'm going to pick up the
second clip board.
| | 03:25 |
Again, I'm going to click OK.
And now, I'm quickly building this
| | 03:30 |
layered piece of audio using two
different pieces of original media that's
| | 03:34 |
stored on the clip board.
(SOUND).
| | 03:35 |
And once again, this might not seem
shockingly, amazingly, exciting if I'm
| | 03:42 |
using just these three simple notes.
But imagine another scenario.
| | 03:46 |
Imagine that you're working with some
voice over media that is meant to be
| | 03:51 |
incorporated into a scene where there is
atmospheric sound.
| | 03:54 |
But the little piece of voice over that
you've got doesn't have that atmospheric sound.
| | 03:58 |
Now, you can easily copy a little piece
of it.
| | 04:01 |
Ctrl+C, Cmd+C to copy.
Shift+Ctrl or Cmd+V to paste.
| | 04:06 |
And you can blend that atmos from another
piece of audio into the section that's a
| | 04:11 |
little too dry or a little too clean.
So again, if you want to use Mix Paste,
| | 04:15 |
rather than just paste, you can find it
under the Edit menu and choose Mix Paste.
| | 04:20 |
| | Collapse this transcript |
|
|
6. Adding Special Effects to a FileComparing the Effects Rack with the Effects menu| 00:00 |
Adobe Audition includes a long list of
special effects you can apply to your audio.
| | 00:05 |
And there are a couple of ways you can
approach working with those effects in
| | 00:09 |
the Waveform Editor.
If I open up this Millionaire Mix Quieter
| | 00:14 |
clip, this is in the assets folder.
You can see this a clip that I've much
| | 00:19 |
reduced the volume for.
So, if I play this back.
| | 00:21 |
(MUSIC).
It's there, but it's a lot quieter, and
| | 00:24 |
we're maybe going to want to amplify a
little bit to work with it.
| | 00:30 |
One way to do this would be, of coarse,
to just use the heads up display.
| | 00:34 |
But another would be to go to our Effects
list and looking down the options here we
| | 00:38 |
can see under Amplitude and Compression
we've got Amplify.
| | 00:43 |
And now, we've got a couple of options
here.
| | 00:45 |
There are some presents for how much we
want to amplify by.
| | 00:48 |
And we have separate gain controls for
left and right audio, because this is a
| | 00:52 |
stereo file.
You see the tick box here links the
| | 00:55 |
sliders together, so as I make my
adjustment, let's go up by, well, let me
| | 00:59 |
just type in 9 dB.
And tab away and that updates.
| | 01:03 |
I can play this to have a listen and
check out how it compares.
| | 01:07 |
(MUSIC).
Okay, that's substancially louder.
| | 01:12 |
And here, I can loop play and I can
temporarily turn the effect off and on to
| | 01:15 |
toggle it during playback and check if
it's working for me as an effect.
| | 01:20 |
And you'll see these controls on pretty
much every effect in Audition.
| | 01:23 |
If I click Apply Now.
It takes a moment.
| | 01:26 |
And you can see the waveform updates.
So, that's one way that I could apply
| | 01:30 |
this effect.
And the thing about that workflow, is
| | 01:32 |
that it's technically destructive.
We're making a change to the original file.
| | 01:37 |
And we can't really tell what the results
are until we apply the effect.
| | 01:42 |
Plus, we can only work on one effect at a
time.
| | 01:45 |
Nonetheless, this is the traditional
workflow.
| | 01:47 |
Pick your effect, choose the settings and
click Apply.
| | 01:51 |
There is another way though.
If I go now to our Effects Rack, you'll
| | 01:56 |
see here we've got a list of up to 16
different effects, that we can apply to
| | 02:01 |
our audio.
Each effect on the list has a on off button.
| | 02:06 |
And if I click over on the far right
here, I could access to a menu that looks
| | 02:10 |
rather similar to the one at the top of
the screen.
| | 02:13 |
In fact, under Amplitude and Compression
here's my Amplify option.
| | 02:17 |
And once again, if I want to, I can make
changes to my audio with this effect.
| | 02:22 |
And in fact, what I'm going to do is to
just close this and let me turn that
| | 02:27 |
effect off for a second.
I'm going to undo back a few steps, there
| | 02:32 |
we go.
Let's go back to our very, very quiet origin.
| | 02:36 |
Now, if I go in here and choose Amplitude
and Compression > Amplify.
| | 02:40 |
And we've got that on 9 dB already, so
that's okay, let's close that.
| | 02:45 |
If I have a listen now, we should find it
is louder on playback.
| | 02:50 |
(MUSIC).
Now, this is interesting because the
| | 02:55 |
waveform is still showing very, very
quiet playback, but we're hearing the net
| | 03:01 |
combination of the original audio plus my
effects.
| | 03:05 |
In fact, if I want to, I can apply a
whole list of effects here and listen to
| | 03:10 |
the results of them all combined, turning
different ones off and on to see how they compare.
| | 03:15 |
I've also, on the bottom here, got
separate input gain and output gain controls.
| | 03:19 |
So, I can dip or amplify the original
audio before it goes into my effects rack.
| | 03:25 |
And then, if the effects are making
changes to the overall level of my audio,
| | 03:29 |
I can then use this output control to
compensate and adjust it.
| | 03:32 |
And then, just below that, I've got this
option to blend a Wet and Dry mix.
| | 03:37 |
Now, 100% Wet means I'm getting just the
results of the special effects.
| | 03:42 |
100% Dry, or I should say 0% Wet means
that I'm just getting the original audio.
| | 03:49 |
This slider allows me to blend the
intensity of the effect.
| | 03:53 |
So, if I maybe put a reverb on or
something like that.
| | 03:56 |
I can just use this control as an overall
how much effectiveness it is control.
| | 04:01 |
And I'm sorry to use such vague language.
But the problem is we're talking about a
| | 04:05 |
blended amount of any effect that you
apply.
| | 04:08 |
It could be anything at all on the list.
Even in combination and you're adjusting
| | 04:13 |
how much of it you get by moving this
slider.
| | 04:16 |
Here, you can see in the tool tick it's
called the mix percentage.
| | 04:19 |
Now, although we can preview this using
the Effects Rack, the result of those
| | 04:24 |
effects will not be applied to the clip
until we click the Apply button.
| | 04:29 |
When I click this button, any effects on
the list will be applied and you'll see
| | 04:32 |
the waveform update appropriately.
Notice, I've also got an uber off on
| | 04:36 |
button here.
I've got a totally no effects or a
| | 04:38 |
totally all the effects on.
I'm going to click Apply.
| | 04:41 |
I've only got one on the the list, but
that's fine.
| | 04:43 |
And when I click Apply, there's a little
bit of calculation, and then you can see
| | 04:46 |
the waveform update.
So, I just click to Deselect.
| | 04:49 |
And you can see the waveform very
clearly.
| | 04:51 |
So, the result of me applying that effect
using the Effects Rack or applying it
| | 04:56 |
using the Effects menu, is exactly the
same.
| | 04:59 |
The difference is that I can blend
together multiple effects on this list,
| | 05:03 |
have a listen, check it out, decide if I
like it, and if I do, click Apply.
| | 05:07 |
And then, it's applied to my original
audio.
| | 05:10 |
Remember, this is a destructive process.
So, I've got a little asterisk next to
| | 05:15 |
the file name which is telling me changes
have been made but I've not yet saved them.
| | 05:19 |
When I save it'll be baked into that
file.
| | 05:22 |
So, that's the difference between working
with the Effects menu and working with
| | 05:26 |
the Effects Rack in Adobe Audition.
| | 05:28 |
| | Collapse this transcript |
| Using the Effects Rack to combine effects| 00:00 |
One of the benefits of using the Effects
Rack to add effects to an audio clip is
| | 00:06 |
that it has a kind of procedural approach
to the order in which those effects are applied.
| | 00:10 |
Now, let's give you an example of what
that means.
| | 00:13 |
First of all, let's open up, under the
Assets folder our Simply Falling Mix
| | 00:17 |
Quieter.mp3 file.
And this is a version of the Simply
| | 00:22 |
Falling music that I've already
pre-reduced the amplitude quite a lot.
| | 00:25 |
I've made this a lot quieter.
Now, I'm going to go to my Effects Rack
| | 00:29 |
and I'm going to add a simple effect.
I'm going to add Amplify.
| | 00:32 |
So, let's go to the little triangle here
on the right.
| | 00:36 |
Let's go to Amplitude and Compression.
This category of effects and let's choose Amplify.
| | 00:42 |
This is going to bring up the effect and
if I want to I can have a listen and make
| | 00:47 |
some adjustments.
In fact, I'm pretty happy if I start with
| | 00:49 |
the default here.
Let's pull this up and I think I will go
| | 00:52 |
for something like 9 dB.
So I'm just clicking, typing in the
| | 00:56 |
number 9, I'm pressing Tab to come out of
that text entry box, and because the link
| | 01:00 |
sliders option is on both the left and
right gain is being increase by the same amount.
| | 01:06 |
Now, I appreciate, I'm showing you a
pretty simple effect here and there are
| | 01:09 |
much more complex ones in Adobe Audition
but just to get this principle, let's
| | 01:13 |
start with some very simple ones.
If I click to close this panel, just look
| | 01:18 |
at the top right here.
You'll notice that pretty much all of the
| | 01:20 |
effects in Adobe Audition have this
little strange icon in the corner and the
| | 01:24 |
tool tip tells you what it does.
It switches to the channel map editor and
| | 01:28 |
the channel map editor allows you to
specify which channels in your original
| | 01:33 |
audio output from the effect.
So you see, for example, under channel,
| | 01:37 |
I've got left and right.
This is stereo audio.
| | 01:39 |
Under the Effect Input, I can choose to
have None, Left, or Right.
| | 01:43 |
And for the output for that channel,
again, I can choose None, Left, or Right.
| | 01:47 |
And this is pretty useful if you're
working with audio where perhaps it's
| | 01:50 |
stereo source, but one of the channels is
very messy, very muddy.
| | 01:55 |
Perhaps it's a microphone on a camera.
And maybe the second camera has a lot of
| | 02:00 |
wind noise, so there's some problem with
it.
| | 02:01 |
You don't necessarily want to use that
audio at all.
| | 02:03 |
Now you can strip it out.
You can easily enough just make a
| | 02:06 |
selection on one channel or the other on
the timeline.
| | 02:11 |
But perhaps you just intend to apply
different effects to the left and right channels.
| | 02:14 |
Either way, you've got the option here
and that's what this button leads you to
| | 02:18 |
in the Effects Rack.
It's one of those things where, if you
| | 02:20 |
need it, you need it, if you don't,
you'll probably hardly ever look at it.
| | 02:23 |
It's not something you need to go into
that often.
| | 02:25 |
So, now I'm going to close this panel and
let's have a little listen.
| | 02:29 |
(MUSIC) So, that's quite a bit louder.
I've added 9 dBs, quite a substantial
| | 02:36 |
increase in the amplitude.
Now, I'm going to add another one.
| | 02:41 |
I'm just going to contradict that effect,
in some ways.
| | 02:43 |
I'm going to go in and I'm going to go
back to the amplitude and compression
| | 02:47 |
category, and I'm going to choose Hard
Limiter.
| | 02:50 |
Now, a limiter prevents the audio level
going above a preset maximum level.
| | 02:56 |
Here we've got maximum amplitude by
default were set to minus 0.1dB.
| | 03:01 |
It's just a fraction below fully
attenuated.
| | 03:03 |
But I'm going to make it a bit more
dramatic.
| | 03:05 |
I'm going to pull this down to let's just
type in, have minus 20dB.
| | 03:11 |
So it's quite a lot lower than fully
attenuated.
| | 03:14 |
Now, what this means is the audio that
you have will go perfectly freely up as
| | 03:19 |
loud as minus 20 dB but no louder.
So this is a pretty useful effect.
| | 03:24 |
Although, the hard limiter can be quite
brutal sometimes.
| | 03:26 |
It's not always the most subtle effect.
It does mean you can be sure that your
| | 03:31 |
audio won't go above that critical
threshold, which can be very important if
| | 03:34 |
you're producing content for broadcast
television or for any purpose really.
| | 03:38 |
Now we've got the option to boost the
input as well if we want to.
| | 03:43 |
And that means we can set the overall to
be higher for our audio, while still
| | 03:48 |
maintaining the maximum amplitude cut
off.
| | 03:51 |
This is a kind of compression, what's
technically called compression is
| | 03:55 |
increasing the overall level and clamping
down the limiter, so you can make the
| | 03:59 |
audio overall sound louder.
This is used a lot in advertising.
| | 04:02 |
We've also got this look ahead time and
release time.
| | 04:04 |
And the look ahead time is just telling
Audition how far ahead to look to
| | 04:10 |
calculate how much of an adjustment you
should make to your audio level.
| | 04:13 |
If it spikes very quickly, if you've got
a lot of changes in your audio, you may
| | 04:17 |
want to reduce this.
If the audio is more like string
| | 04:19 |
instruments, you might want to extend
this, and you'll have a more subtle
| | 04:22 |
effect from this hard limiter.
The release time is how long it takes to
| | 04:26 |
let go of the audio level adjustment
after the audio drops below that critical
| | 04:30 |
threshold again.
So if the audio drops below minus 20 dB
| | 04:34 |
naturally if that's in the original
sound, then it's going to take a little
| | 04:37 |
bit of time for Audition to release the
audio amplitude adjustment.
| | 04:42 |
It's literally turning the volume down
and then gradually turning it back up again.
| | 04:46 |
Now the longer the release time, the more
fluid, the more natural the adjustment.
| | 04:50 |
But, of course, it can mean you get
noticeable dips and troughs in the audio.
| | 04:54 |
You just need to play with these controls
to get the result that you want.
| | 04:58 |
Link channels is pretty self-explanatory.
It's going to link together the left and
| | 05:01 |
right audio for the purpose of these
adjustments.
| | 05:03 |
Instead of just using one of the
channels, it'll use both as a reference.
| | 05:07 |
So, now I've set my hard limiter at minus
20 dB, and if I press play, (MUSIC) I'm
| | 05:12 |
pressing the Spacebar here, you can see
if I just pause, we're now getting minus
| | 05:16 |
20 dB maximum.
This music is pretty consistently loud
| | 05:21 |
all the way through, rather than the
minus 9 that we had before.
| | 05:25 |
So, what's happening here is the
Amplifier Effect is increasing the volume.
| | 05:29 |
Well, let's turn off the Hard Limiter and
have a listen.
| | 05:32 |
(MUSIC) There we go.
That's peaking at minus 9 dB.
| | 05:35 |
Turn it back on again and it's pulling it
back down to minus 20.
| | 05:38 |
And this is how the effects are applied
from top to bottom in the Effects Rack.
| | 05:43 |
If you want to change the order, you can
just click and drag and pull it to a
| | 05:47 |
different spot on the list.
So you have this powerful control for
| | 05:51 |
ordering effects, as they're applied to
your original audio.
| | 05:54 |
And don't forget that nothings applied to
your original file until you click this
| | 05:58 |
all important Apply button at the bottom
of the panel.
| | 06:01 |
| | Collapse this transcript |
| Understanding the power of the Preview Editor| 00:00 |
Adobe Audition has a fantastic feature
that allows you to preview adjustments
| | 00:05 |
that you're going to make to your audio
both in terms of the display of the
| | 00:09 |
waveform and the spectral frequency
display.
| | 00:11 |
I just want to show you how this works.
I'm going to open up here under assets
| | 00:16 |
the simply falling mix quieter mp3.
This is a version of our Simply Falling
| | 00:21 |
track that I've reduced in amplitude
already.
| | 00:24 |
Just to begin with, I'm going to get rid
of the spectral display so we've got a
| | 00:28 |
nice large view of the left and right
waveforms.
| | 00:31 |
Here's the L for left, R for right.
And you can see here, if I want to, I can
| | 00:36 |
selectively deselect if you like
individual channels so I can work on one
| | 00:41 |
or other of these if I want to apply
effects and so on.
| | 00:44 |
So what I'm going to do is go to my
effects rack and I'm going to go to
| | 00:50 |
something like an amplitude effect, I'm
just going to go to a simple one like amplify.
| | 00:55 |
And I'm going to just raise up the
amplitude of this clip a little bit.
| | 01:00 |
So, now if I click on the top right here,
just beside the navigator, there's a new
| | 01:06 |
button, Show Preview Editor and if I
click on this button, you can see very,
| | 01:12 |
very quickly.
Let me just adjust this a little bit,
| | 01:15 |
pull this out.
You can see at the top of this panel, I
| | 01:21 |
have one version of the waveform, with a
navigator and my left and right audio in
| | 01:25 |
its original form, and at the bottom,
I've got a new version of the waveform,
| | 01:30 |
which is what I'm going to get as a
result of making this adjustment.
| | 01:34 |
So now that I've got the Preview panel
displayed, it's this button here that
| | 01:38 |
toggles it off and on, at the top right.
If I double-click on Amplify again and
| | 01:42 |
make another adjustment.
Let's pull this down a little bit, even quieter.
| | 01:46 |
Takes a moment to update, and there you
can see the results.
| | 01:50 |
Here, let's push it back up again, and
there's the result.
| | 01:54 |
Also if I want to I can pull up my
spectral display, I can turn it off and
| | 01:58 |
on just as I would normally but now I've
got two copies.
| | 02:01 |
Now I'll grant you this does look pretty
busy onscreen.
| | 02:05 |
It's a pretty dense area of buttons and
colors and shapes but bear in mind that
| | 02:09 |
I'm working with a relatively low screen
resolution to make sure this can be
| | 02:13 |
viewed on the web and it's accessible.
When you're working with larger monitors,
| | 02:16 |
this really isn't a problem.
But again, let's keep clear we've got at
| | 02:20 |
the top navigator, time ruler, left and
right audio waveform, left and right
| | 02:26 |
audio spectral display.
And then below that, all of those things
| | 02:29 |
again, but as a preview.
So if I just pull this up even further
| | 02:34 |
and maybe if I go into my effects.
And I choose something very, very simple
| | 02:40 |
like a very basic ten band graphic
equalizer.
| | 02:43 |
This gives me a series of different
bands, different frequencies that I can
| | 02:49 |
adjust the amplitude for.
So instead of adjusting the overall
| | 02:51 |
volume, the overall amplitude, I'm going
to adjust it for different ranges of
| | 02:56 |
frequencies, different tones.
You can see this is anything below 31 hertz.
| | 03:00 |
Anything over 16 kilohertz, and each of
these bands is a separate part of the
| | 03:06 |
audio tonality, if you like.
Here I've got a range which is up to
| | 03:10 |
48db, and the accuracy, this setting
really defines how hard the equalizer
| | 03:16 |
effect is going to try.
The higher the number, the more work the
| | 03:20 |
system's going to do to give clean
results, but of course the more
| | 03:22 |
processing time for your machine.
And then here I've got an overall gain control.
| | 03:27 |
You'll find in Audition a lot of
different ways to adjust the amplitude
| | 03:29 |
for audio.
Just to make this really obvious I'm
| | 03:32 |
going to pull down the low frequencies
right up to about 1K.
| | 03:38 |
And there you go, I haven't clicked
anything, it's just updated automatically
| | 03:42 |
and you can see that band across the
bottom of my spectral frequency display.
| | 03:47 |
Let's pull down some more.
Move this right down, minus 24db and there.
| | 03:52 |
Now you can see a really obvious change
being made to the spectral frequency
| | 03:56 |
display in the preview.
Let's just close that down.
| | 03:59 |
But now you can see, very quickly I can
turn these off, turn them on, and I'm
| | 04:03 |
getting that preview right away.
This is amazingly useful to get a sense
| | 04:08 |
of whether the changes you're making to
your audio are valuable or not, and in
| | 04:11 |
particular it's useful if you're working
with adjustments that change the amplitude.
| | 04:16 |
There's nothing like seeing the results
dynamically.
| | 04:19 |
There's one more example of this I'd like
to give you.
| | 04:21 |
I'm going to turn these effects off and
I'm going to go to my effects panel.
| | 04:25 |
In fact before I do that let's get rid of
the spectral frequency display.
| | 04:28 |
I'm going to go to my effects panel and
I'm going to go to Amplitude and
| | 04:32 |
Compression and I'm going to choose Gain
Envelope.
| | 04:35 |
Now this effect allows me to specify a
line that goes across my audio to adjust
| | 04:41 |
amplitude at different times.
You can see here this yellow bar, if I
| | 04:45 |
set this back to default first of all,
there's the yellow line.
| | 04:48 |
Remember at the top half is the original,
the bottom have is the preview.
| | 04:51 |
If I now grab this yellow line and click
and click and click I'm adding control points.
| | 04:57 |
And I'm going to drop this down.
I'm going to lift this up.
| | 05:01 |
You can see the preview updating.
I'm going to turn on Spline Curves,
| | 05:04 |
that's going to give this a natural
curve.
| | 05:06 |
You see I'm making Audition work pretty
hard here to update this.
| | 05:09 |
And right away you can see, there we go
we've got more volume, and then it dips.
| | 05:14 |
It's very, very quiet near the center
where this yellow line dips and then it increases.
| | 05:19 |
Immediately I can see the results of
applying this effect without necessarily
| | 05:23 |
clicking Apply.
Now when I do click Apply, the effect is
| | 05:27 |
applied, I can get rid of my preview
editor because I don't need it anymore
| | 05:31 |
and here's my original audio.
So a very, very useful mode.
| | 05:35 |
I recommend that you play with it a
little bit and especially see the ways
| | 05:39 |
that it updates the spectral frequency
display because that's where some of the
| | 05:42 |
more subtle adjustments are made.
| | 05:44 |
| | Collapse this transcript |
| Applying automatic pitch correction| 00:00 |
If you're producing music with Adobe
Audition, it's quite possible you're
| | 00:04 |
going to want to work with pitch.
And there are several different ways of
| | 00:07 |
doing that.
I'm going to start out by showing an
| | 00:09 |
automatic pitch correction tool that's
particularly useful for vocals.
| | 00:13 |
It's good for making sure that your
singer hits the right notes.
| | 00:16 |
So, first of all, I'm going to pull in
here my auto pitch correct guitar so you
| | 00:22 |
can hear what it should sound like.
And then I'm going to pull in the vocals.
| | 00:25 |
It's very likely that you would go
through this work flow as part of a
| | 00:29 |
multi-track session, but I'm just going
to show you based on these two separate
| | 00:33 |
files because the work flow actually
takes place in the waveform editor.
| | 00:37 |
First of all let's open up the guitar,
double clicking on it.
| | 00:40 |
And let's just play this and just have a
listen to the correct notes.
| | 00:44 |
(MUSIC) Okay, well there it is.
Now let's have a listen to the vocal for
| | 00:59 |
this and I think you're pretty quickly
going to realize where the problem is.
| | 01:03 |
(MUSIC).
Now the effect I'm going to apply can be
| | 01:08 |
applied either by using the Effects menu,
you can go to Time and Pitch and choose
| | 01:17 |
Automatic Pitch Correction, but I'm going
to use the Effects Rack.
| | 01:24 |
So, I'm going to click on the Effects
Rack tab.
| | 01:25 |
And I'm going to click to choose a First
Effect > Time and Pitch > Automatic Pitch Correction.
| | 01:32 |
Let's just pull this over a little bit
here so you can see.
| | 01:36 |
This effect works a little bit like a
limiter.
| | 01:39 |
you've got at an attack, so how quickly
is the system going to react to what it
| | 01:44 |
thinks is a bad note and how sensitive is
it going to be, how much flexibility is
| | 01:49 |
it going to allow.
Up at the top we've got presets and we
| | 01:52 |
can specify but I think C major pretty
much should work for this one.
| | 01:55 |
Let's have a listen.
If we roll back a little bit and hit play.
| | 01:59 |
Now, notice that I can just play this and
as it plays we're getting an adjustment amount.
| | 02:05 |
(MUSIC) You'll notice I've got couple of
additional options here.
| | 02:14 |
I can specify which channel I'm going to
use, well, there's only one, this is mono.
| | 02:18 |
I can also specify this Fast Fourier
Transform size, FFT.
| | 02:23 |
Now there's a whole bunch of mathematics
that goes into defining FFTs but what it
| | 02:28 |
comes down to is if you're working with
higher frequency content go for a smaller
| | 02:33 |
number, and for lower frequencies go for
a higher number.
| | 02:36 |
In fact for voice you're probably
going to be better off using something
| | 02:40 |
like 2048 or 4096.
And the size of the fast Fourier
| | 02:44 |
transform is, in a sense, it's the sample
that's taken to calculate this effect.
| | 02:49 |
In any case, I'm happy with my results.
I could choose a different scale if I
| | 02:54 |
needed it, if I knew the key that this
was supposed to be in, and for that
| | 02:58 |
matter, I could open up the correct
guitar tune and have a look at the
| | 03:02 |
spectral pitch display to see if I could
identify the key.
| | 03:06 |
But I'm happy as it is.
I'm going to close this panel and I'm
| | 03:09 |
going to click apply.
And there we go, the adjustment has been made.
| | 03:13 |
Let's have a quick listen.
(MUSIC) Well there it is again.
| | 03:15 |
It's probably not going to win any awards
but you can tell the difference very,
| | 03:22 |
very clearly.
Because this effect has now been baked
| | 03:26 |
into the clip I'm going to need to save
it, I can see that because I've got the
| | 03:32 |
little asterisk next to the name.
But I'm ready to move on and start maybe
| | 03:37 |
filling out that voice with some chorus
effects.
| | 03:39 |
So that's how to apply automatic pitch
correction with Adobe Audition.
| | 03:44 |
| | Collapse this transcript |
| Adjusting pitch| 00:00 |
Audition has a good quality flat pitch
shifting effect, that will allow you to
| | 00:06 |
change the pitch for an entire piece of
audio or a selection within that audio.
| | 00:10 |
In very, very precise increments.
And I'll give you an example here.
| | 00:14 |
I've got a clip opened in audition which
is called adjusting pitch begin.
| | 00:19 |
This is under the Sessions category
inside the Adding Special Effects To File Folder.
| | 00:25 |
And this is a piece of audio that I've
already fixed the pitch for over time.
| | 00:30 |
We've had automatic pitch correction, so
now we're hearing some singing in the
| | 00:34 |
correct key.
But maybe I've decided I'd like it to be
| | 00:37 |
a little bit lower, a little bit higher.
I can apply the effect I want under the
| | 00:41 |
Effects list here under Time and Pitch.
I've got Pitch Shifter which is what I'm
| | 00:46 |
looking for.
Or I can do it under the Effects Rack.
| | 00:49 |
Just as a personal preference.
I'm going to use the Effects Rack.
| | 00:53 |
Coincidentally at the bottom of the
Effects Rack, we've got input and output
| | 00:56 |
controls and if I want to I can turn that
whole section of the rack off.
| | 01:00 |
Just to clean up the display if I don't
intend to use it.
| | 01:03 |
Just gives you a little bit more space to
work with.
| | 01:06 |
So I'm going to click on this little
triangle.
| | 01:09 |
I'm going to choose Time and Pitch.
And I'm going to choose Pitch Shifter.
| | 01:13 |
Now, this is an effect that I can have
floating on screen while I play back my audio.
| | 01:18 |
And I can turn the effect off and on with
the green button at the bottom left-hand corner.
| | 01:23 |
The main part of the effect that you're
going to want to work with is here, on a
| | 01:26 |
pitched transpose.
And these numbers represent semi-tones.
| | 01:31 |
And one semi-tone is half a note so to
give you an example as it's described
| | 01:35 |
C-sharp is half a note higher than C and
that's one semi-tone higher.
| | 01:41 |
And 12 semi-tones is a full octave.
The sense control is there to give you
| | 01:46 |
very precise increments, 100 cents
represents one semi-tone, so you can
| | 01:51 |
adjust the pitch overall up here with
this slider and then, make very, very
| | 01:55 |
precise adjustments underneath it.
So, I'll just start this off on full set
| | 02:02 |
this to zero, and play this back so you
can hear it.
| | 02:06 |
>> (MUSIC) Hallelujah.
(MUSIC).
| | 02:14 |
Okay, and now let's push this up by two
semitones.
| | 02:18 |
So it's a couple of notes up.
Notice that at the bottom left hand
| | 02:21 |
corner I've got this set to low
precision.
| | 02:24 |
Just have a listen (MUSIC) Sounds awful.
The precision control really sets out how
| | 02:33 |
hard the system is going to work.
How much processing is going to be put
| | 02:37 |
into the quality of this effect.
>> If I set this to high precision and
| | 02:41 |
then jump back a little bit in the editor
panel Hallelujah (MUSIC) Much smoother.
| | 02:49 |
Although, there's still a little bit of
wavering there.
| | 02:52 |
Over on the right, we've got some
controls that you really need to just
| | 02:55 |
play around with to get the best results.
The splicing frequency is how many
| | 03:00 |
samples are going to be used at a time
when calculating this effect.
| | 03:06 |
And overlapping creates an overlap for
those samples.
| | 03:10 |
So, you can create something of a chorus
effect if you set this a little bit too high.
| | 03:14 |
Once again you're just going to want to
play with these if you don't get the
| | 03:16 |
result you're looking for.
If you take this box to use appropriate
| | 03:20 |
default settings, depending on the
adjustment that you're making, these
| | 03:23 |
numbers will update automatically.
So here it is high.
| | 03:29 |
(MUSIC) And let's put it down to minus
two.
| | 03:36 |
Let's have a listen.
(MUSIC) Not bad.
| | 03:42 |
You can see as I'm adjusting these
settings, the ratio, which is the
| | 03:45 |
relationship between the original
frequencies of the audio and newly
| | 03:49 |
adjusted frequencies is updating too.
So if I'm happy with these settings, and
| | 03:55 |
to be honest, most of the time you can
get away with just ticking this box,
| | 03:57 |
choosing high precision, ignoring
everything else and playing with the
| | 04:00 |
semi-tones and sense.
If I'm happy with this, I can click close.
| | 04:06 |
And remember, this won't be applied to
the audio until I click on the Apply button.
| | 04:10 |
I can hear it, I can play it back
(MUSIC), but I need to click Apply, and
| | 04:16 |
then the adjustment is baked into the
file.
| | 04:21 |
So that's using the pitch shifter effect
in Adobe Audition.
| | 04:26 |
| | Collapse this transcript |
| Adjusting pitch over time| 00:00 |
As well as making flat adjustments to the
pitch in your audio, you can also adjust
| | 00:05 |
pitch over time.
And this is something that you may use a
| | 00:09 |
little bit less often than the overall
pitch adjustments.
| | 00:12 |
But it is pretty handy in a tight spot.
I'm going to go to my Media browser.
| | 00:15 |
I'm going to go to Assets, and I'm
going to pull in this Simply Falling Mix
| | 00:19 |
Quieter MP3, just double-click to open
that up.
| | 00:23 |
And as you can hear, if I scrub through
this, I've got this already set to minus
| | 00:29 |
18 dB.
As I'm dragging through here, if you're
| | 00:32 |
not familiar with this term, scrubbing
just means dragging the Play Head along
| | 00:36 |
here in the Time Ruler and hearing the
samples that are just underneath the Play Head.
| | 00:42 |
Of course, if you click on the wave form,
you're going to make a selection.
| | 00:45 |
You do need to click on the ruler along
the top.
| | 00:48 |
The effect I want to use is called Pitch
Bender.
| | 00:50 |
And it's not one that I can access here
in the Effects Rack.
| | 00:54 |
If I look under my list of effects under
Time and Pitch, it's just not there.
| | 00:58 |
And that's because the Pitch Bender
effect is one that needs to be
| | 01:01 |
pre-processed before you can go back to
working with your audio.
| | 01:04 |
So, I'm going to go to my Effects menu.
I'm going to choose Time and Pitch.
| | 01:08 |
And here is Pitch Bender.
You see, it has in brackets process and
| | 01:11 |
quite a few effects to have this little
word processing brackets next to the name.
| | 01:16 |
And all of these are effects that you're
going to need to choose from the Effects menu.
| | 01:20 |
And this means that the Effects menu has
more options in it than are available in
| | 01:24 |
the Effects Rack.
So, I'm choosing Pitch Bender.
| | 01:27 |
And this is going to give me a blue line
across the middle of my audio.
| | 01:31 |
Now, I'm also getting my Preview panel.
So, I'm going to turn the Preview panel
| | 01:35 |
off just to tidy up my display a little
bit.
| | 01:39 |
And the interface here is pretty
straightforward.
| | 01:42 |
The important detail is this blue line.
I can click to add control points to this
| | 01:46 |
line and I'm just going to put some
pretty close together, and now I'm
| | 01:49 |
going to scroll with my mouse to zoom in.
Let's just pull in here.
| | 01:54 |
And I'm going to drag one of these pretty
far down, so you can hear the results.
| | 01:59 |
You can see inside the Pitch Bender,
Effect panel.
| | 02:02 |
I'm getting a little preview of that
line.
| | 02:05 |
I can reset if I want, and I can set this
to Spline curves which gives me nice
| | 02:09 |
curvy lines.
I'm going to give this really hard linear
| | 02:12 |
lines, just so you can hear the result
really clearly.
| | 02:15 |
Also, on the quality, I can specify very
good quality or low quality.
| | 02:20 |
Really this just means how much
processing is involved.
| | 02:23 |
Now, if you're working on a pretty
powerful desktop machine, you could
| | 02:25 |
probably set this to perfect and it's
going to sound wonderful.
| | 02:29 |
If you're working on maybe a lower
powered laptop, something that is
| | 02:32 |
struggling to conduct audio processing,
set this lower.
| | 02:36 |
But it's very rare you're going to need
to set it right near the bottom of the list.
| | 02:40 |
The Range control specifies the minimum,
the lowest point that I can go to, either
| | 02:45 |
in semitones or in beats per minute.
And this is interested because adjusting
| | 02:49 |
audio using the Pitch Bender effect is
actually going to change the playback
| | 02:52 |
speed as well.
In fact, if we look under the presets,
| | 02:56 |
there's even a turntable losing power
option here that just causes it to drop
| | 03:00 |
off towards the end.
Before we get to that though, let's just
| | 03:03 |
have a listen with this in Preview mode,
I've got the effect turned on.
| | 03:07 |
So, I'm going to press the space bar.
(MUSIC).
| | 03:14 |
It sounds pretty serious, and then we're
going to reach our turning point.
| | 03:28 |
(MUSIC).
So, I think it's pretty clear what's
| | 03:35 |
going on there.
Now, I'm giving you a really blunt
| | 03:40 |
example of how to use this effect, but
there are much more subtle ways of
| | 03:45 |
applying it.
Let's say, for example, you've got a
| | 03:46 |
piece of dialogue maybe that you're
producing, a movie soundtrack.
| | 03:49 |
And there's just one word that you'd like
to sound like it has a little bit more
| | 03:53 |
gravitasse than other words in the
dialogue.
| | 03:57 |
You could just pull the pitch down a
little bit.
| | 03:59 |
Spread out the presentation of the line.
Add a little bit more weight, a little
| | 04:03 |
bit deeper tone, and actually change the
performance.
| | 04:07 |
Just to illustrate I'm going to reset,
click this button.
| | 04:11 |
Double-click on my navigator to go out to
the full zoom.
| | 04:15 |
And let's choose under the Preset the
turntable losing power.
| | 04:18 |
And you get a sense of what this effect
can do.
| | 04:21 |
I'll just click right near the end here
and let you have a listen.
| | 04:32 |
In fact, this is a pretty long piece of
music isn't it?
| | 04:35 |
Let's zoom in a little and click right
towards the end.
| | 04:43 |
(MUSIC).
Well, I think you get the idea.
| | 04:50 |
So, that's the Pitch Bender Effect.
I'll just click Apply here.
| | 04:54 |
Let it render out.
And there we go.
| | 04:57 |
And if we pull up our spectral frequency
display, we should be able to see there's
| | 05:03 |
a little bit of a shift towards the end
there as we move down towards those low notes.
| | 05:07 |
The Pitch Bender Effect its only
available under the Effects menu under
| | 05:11 |
Time and Pitch.
You can't access it under the Effects
| | 05:15 |
Rack, but it's a very powerful effect in
Adobe Audition.
| | 05:18 |
| | Collapse this transcript |
| Accessing VST plugin effects| 00:00 |
Now that Audition is fully 64 bit, it
means that any existing 32 bit VST
| | 00:07 |
plugins that you might have will simply
no longer work.
| | 00:11 |
Audition simply won't see them.
Now, there's a third party bridge that
| | 00:15 |
will convert many 32 bit VST plugins into
64 bit plugins, and that's called jBridge.
| | 00:18 |
It's not too expensive, and it'll mean
that if you've got a catalog of plugins
| | 00:26 |
you've already paid for, you can probably
still make use of them.
| | 00:29 |
But by default, you won't be able to see
those effects at all.
| | 00:32 |
VST stands for virtual studio technology.
If you're not familiar with these,
| | 00:37 |
they're just plug-in applications that
work inside of Adobe Audition to give you
| | 00:42 |
things like additional effects and
instruments and so on.
| | 00:44 |
In practice, it means expanding the list
of effects that you have available beyond
| | 00:49 |
those that are installed with Audition,
by default.
| | 00:52 |
Now, I'm just going to open up this
millionaire mix quieter track so I've got
| | 00:56 |
something on screen to get access to the
menu.
| | 00:58 |
I can't really go in to all of my effects
unless I've got a clip open.
| | 01:02 |
You can see they're grayed out here.
So I'm just going to go in here.
| | 01:05 |
This is in my Assets directory,
Millionaire Mix Quieter.
| | 01:11 |
And now if I look under my Effects menu
and scroll right down to the bottom, you
| | 01:16 |
can see I've got an Audio Plug-in Manager
option.
| | 01:19 |
And just above that, I've got VST and VST
3.
| | 01:23 |
The VST3 is the newest version of the VST
plugin standard.
| | 01:28 |
So, I'm going to go to Audio Plugin
Manager and this panel really just exists
| | 01:34 |
for me to point Audition at the correct
directory on my hard drive.
| | 01:38 |
In this case, I'm on a Windows machine.
So, I've got one plug-in directory set-up
| | 01:42 |
and it's on the 'C' drive in the programs
file under VSTPlugins.
| | 01:46 |
This is the default location that
audition will search for VST Plugins.
| | 01:50 |
Now of course if I was on a MAC that
would probably be somewhere in the
| | 01:53 |
library but It'll come up automatically
anyway.
| | 01:56 |
If I've got multiple locations for VST
plug-ins, I can click and just browse to
| | 02:01 |
another folder.
In fact, I can have a list of folders if
| | 02:04 |
I want to.
And I can reset to default and I can
| | 02:07 |
select an entry and remove it if I want.
This is all pretty standard operating
| | 02:11 |
system controls to define some locations
for Audition to look in.
| | 02:14 |
The interesting part is down here at the
bottom.
| | 02:17 |
You've got the option to scan for plug
ins.
| | 02:19 |
So this is going to get Audition to
relook in the folder.
| | 02:22 |
If you've installed any new plug ins
they'll appear here on the list.
| | 02:27 |
I could also take the box to rescan
exisiting plugins.
| | 02:30 |
So we can get Audition to rediscover
everything in the folder and make sure
| | 02:34 |
that its got an up to date list and we
could also enable or disable all or
| | 02:39 |
selectively enable and disable individual
effects and you'll see here I've got vst
| | 02:43 |
versions and vst three versions of many
of the effects I've installed.
| | 02:49 |
I found some free Melda production vst
plugins to put onto my machine here and
| | 02:53 |
there are tons of them available.
Lots of free vst plugins on the net if
| | 02:58 |
you go hunting for them and of course
some really excellent paid for ones and
| | 03:03 |
here if I'm just looking for a particular
item I can click into this filter box and
| | 03:09 |
start typing in a name.
So maybe if I start typing in part of the
| | 03:12 |
name here we've got Pan.
I've got an Autopan and a Stereo Expander.
| | 03:16 |
So I'm going to leave all of these taped.
And I'm going to click OK.
| | 03:21 |
So now if I go to my effects menu, I've
got under VST.
| | 03:25 |
And on the VST 3, a whole series of
effects.
| | 03:27 |
Under Dynamics, for example here, I've
got Melda Production.
| | 03:32 |
I've got a Melda compressor with a
fantastic interface to do more advanced
| | 03:37 |
compression of my audio.
I can go back in again, and what else
| | 03:42 |
have I got here, the Melda inflections
phaser.
| | 03:47 |
And what you'll find very often is that
Adobe by necessity have standardized
| | 03:52 |
their interface to make it accessible for
all users who are familiar with the adobe
| | 03:56 |
local field with the VST plug-ins they
can really go for it and explore new
| | 04:02 |
interface paradigms, this serve the work
that're trying to do with their effect
| | 04:05 |
and what that ultimately means is.
It looks a bit more colorful and a bit
| | 04:09 |
more diverse just close that down.
Notice as well if I go to my effect track
| | 04:15 |
these VST plug ins are still available.
So if I go in and lets have my wave
| | 04:21 |
shaper here you see I can rack up a whole
series of VST plug in effects and exactly
| | 04:27 |
the same way that I would apply in any of
the standard built in adobe rotation effects.
| | 04:33 |
So again if you want to find the VAT
plugins on your system go to your effects
| | 04:36 |
menu and choose the audio plugin manager.
I think the controls are pretty
| | 04:40 |
straightforward there and once you've got
them visible to Audition, you can apply
| | 04:45 |
them like any other effect.
But remember 32 bit effects will no
| | 04:48 |
longer work because Audition now is fully
64 bit.
| | 04:52 |
| | Collapse this transcript |
|
|
7. Cleaning Up AudioUsing the Spectral Frequency Display to clean up your audio| 00:00 |
Waveform displays give you a pretty good
indication of what's going on in terms of
| | 00:05 |
time with your audio recordings, but the
spectral frequency display is where it's
| | 00:10 |
at for identifying problems within a
specific frequency range.
| | 00:15 |
Now let's open up here under Assets under
the Clean-up directory I have.
| | 00:20 |
Let's open up this interview noise audio
WAV file.
| | 00:23 |
And if you listen really carefully, I'll
just click a little bit in from the
| | 00:27 |
beginning here and, I'm going to play
this, I'm pressing the space bar to play.
| | 00:30 |
And just have a listen around about this
region.
| | 00:33 |
If I just pull this down, and have a
listen.
| | 00:36 |
>> Drink company (SOUND) committed to
health and fitness.
| | 00:38 |
Johanna represents what.
>> So there's definitely a telephone
| | 00:42 |
ringing in the background here.
And in fact, as we go on, the audio gets
| | 00:46 |
even worse.
We've got a terrible hiss, and there's a
| | 00:48 |
high pitched whine.
>> Aqua is all about.
| | 00:51 |
When I first started to ride, I was.
>> Pretty awful.
| | 00:54 |
Now, with the waveform display, we can
see where the problem is in time, but we
| | 00:58 |
can't see specific frequencies.
So, I'm going to pull up this divider to
| | 01:03 |
display the spectral frequency display.
And now, it become pretty clear what's
| | 01:07 |
going on.
I'm going to resize the panel a bit here.
| | 01:10 |
In fact, let's just get rid of our
waveform altogether and I'll maybe pull
| | 01:14 |
the heads up display over, out of the
way.
| | 01:16 |
Here is our telephone and it's pretty
obvious because it's a man made signal
| | 01:22 |
and so it doesn't have that organic
subtlety and nuance of speech patterns
| | 01:26 |
which is all the rest of this sound.
If I play this through again you can see
| | 01:29 |
very clearly where the telephone is.
>> Company (SOUND) committed to health
| | 01:33 |
and fitness.
Johanna represents what Aqua is all about.
| | 01:37 |
When I first started to ride.
>> And there's all that noise.
| | 01:40 |
You see all that fuzzy pink stuff?
That's the background noise.
| | 01:43 |
And this thin line along the top.
That's the high pitched whine.
| | 01:46 |
Who knows, maybe that's come from some
radio interference.
| | 01:50 |
Whatever it is, we want to get rid of it.
With the spectral frequency display all
| | 01:55 |
we have to do is find a way of
highlighting, identifying the section we
| | 01:59 |
want to remove and we can get rid of it.
And to do that we can use any of these
| | 02:03 |
four tools along the top.
Not the Healing Brush Tool, but any of
| | 02:08 |
these four will allow us to make a
selection.
| | 02:10 |
Now using the I-Beam isn't much good.
It's going to take all of the
| | 02:13 |
frequencies, but I noticed that this
telephone ring tone, it's pretty much in
| | 02:18 |
a box pattern.
So rather than going to the trouble of
| | 02:21 |
using the Lasso Tool.
It's kind of difficult to get a clean
| | 02:25 |
square shape with it and without even
using the Paint Brush tool which, well
| | 02:29 |
even if I shrink it down a little bit,
I'll just click and drag here on the size.
| | 02:33 |
it's kind of not so easy to make a
straight line.
| | 02:36 |
I'm going to pick up the Marquee and I'm
going to draw a box.
| | 02:39 |
In fact before I do this I'm going to
scroll with the mouse wheel just a little.
| | 02:42 |
Position my play head in the center of
that phone ring to make it a little bit larger.
| | 02:47 |
And then I'm going to position the mouse
on the far right, and I'm going to make
| | 02:50 |
it a little bit taller.
So I'm scrolling with the mouse wheel to
| | 02:53 |
zoom into the frequency range and also
the time range.
| | 02:57 |
I've got a really big selection here.
Now I'm just going to click and drag the
| | 03:03 |
Marquee over these markings and if I want
to I can use to heads up display to drop
| | 03:07 |
the volume incrementally but I'm just
going to hit the delete key.
| | 03:11 |
And I'm removing those frequencies.
Now before I click away to deselect the
| | 03:15 |
Marquee, notice that Audition has
automatically smoothed the edges of the selection.
| | 03:21 |
It hasn't just created a kind of a
frequency cut out.
| | 03:24 |
I've got smoothing there.
Let's just deselect so you can see it, to
| | 03:28 |
soften the join between the absent and
the remaining frequencies.
| | 03:32 |
So now I'm going to scroll down with my
mouse to zoom back out.
| | 03:35 |
I'm going to scroll down on the frequency
scale to do the same.
| | 03:40 |
Click back a little bit and have another
listen.
| | 03:42 |
>> Energy drink company committed to
health and fitness.
| | 03:45 |
>> Perfect.
Now I'm going to do the same thing up here.
| | 03:48 |
Let's just zoom in a little bit in time,
maybe not that much, scroll over a little.
| | 03:52 |
I'm going to be kind of lazy here.
You can be a bit more accurate perhaps.
| | 03:56 |
Select that high band.
Notice that I'm getting both the left and
| | 03:59 |
the right and if I use my up and down
arrow keys I can selectively exclude or
| | 04:05 |
include one channel or other.
This is just the up and down keys on my keyboard.
| | 04:09 |
I'm going to hit delete.
Click away and now let's have another listen.
| | 04:12 |
>> About.
When I first started to ride, I was.
| | 04:14 |
>> So we've lost that high pitched
whine.
| | 04:16 |
Let me just zoom out again.
We've lost the telephone ring and now
| | 04:20 |
we're ready to move onto perhaps more
advanced noise reduction techniques to
| | 04:24 |
get rid of that hiss.
So, again the Spectral Display in Adobe
| | 04:28 |
Audition makes this kind of very specific
work within tight ranges of frequencies
| | 04:33 |
much easier than trying to locate them
through trial and error just using the
| | 04:37 |
Waveform Display.
| | 04:39 |
| | Collapse this transcript |
| Adaptive noise reduction| 00:00 |
Adobe Audition is famous for its noise
reduction technologies and some of them
| | 00:06 |
are incredible single click make it work
options, and some of them are more complex.
| | 00:11 |
I'd like to start out now by showing you
one of the really simple ways where you
| | 00:15 |
can turn on an effect and hope it will
get better and it usually does.
| | 00:19 |
I'm going to browse down to this cleaning
up audio directory.
| | 00:22 |
This is in our sessions listing and I'm
going to open up, let me pull this out a
| | 00:28 |
little bit.
Here we go, interview noise partially clean.
| | 00:32 |
Lets double click to open this up and
pull this over a little.
| | 00:36 |
Now in this version of my interview
audio, I've already removed a background
| | 00:41 |
telephone ring and a really awful high
pitch whine going on during the latter
| | 00:47 |
part of the interview.
And this is an interview where someone is
| | 00:49 |
talking about a cyclist who their
investing in his company.
| | 00:53 |
I'll just let you hear a little bit of
it.
| | 00:54 |
>> Quo is an energy drink company
committed to health and fitness.
| | 00:59 |
Johanna represents what (UNKNOWN) all
about.
| | 01:01 |
When I first arrived I was.
>> Okay, so it sounds pretty much okay,
| | 01:06 |
towards the beginning but in this later
part we've got this very obvious hiss and
| | 01:10 |
its really visible if I pull up the
special display, and just adjust my
| | 01:14 |
interface a little bit we can see this
region that should be darkened isn't and
| | 01:18 |
all of this is background noise.
Now there are a few ways of approaching this.
| | 01:22 |
I'm going to show you a filter called
Adaptive Noise Reduction.
| | 01:25 |
So, I can do this if I want to using the
Effects Rack or I can do it using the
| | 01:30 |
Effects menu.
And to begin with, I'm just going to pick
| | 01:33 |
my I-beam and I'm going to pick out just
the section that has this very strong
| | 01:37 |
hiss in the background.
I'm doing this, because I don't really
| | 01:40 |
mind about the early part of the audio, I
think it sounds okay.
| | 01:43 |
What I really want to do is just deal
with the background noise later on.
| | 01:47 |
And I want to start my preview at this
point.
| | 01:49 |
I don't want to start previewing earlier
back in the recording.
| | 01:53 |
So I'm going to go to the Effects menu.
I'm going to choose Noise Reduction.
| | 01:56 |
And I'm going to choose Adaptive Noise
Reduction.
| | 01:59 |
Again, this is available on the Effects
rack.
| | 02:01 |
Although, you'll notice that, it does not
have the word process in brackets here to
| | 02:06 |
show that you're going to need to
precalculate this effect.
| | 02:09 |
It does actually take up quite a bit of
CPU processing power.
| | 02:13 |
In fact, if I click Close here, and
choose this option here, here we go
| | 02:18 |
Adaptive Noise Reduction.
Now I'm choosing this in the Effects
| | 02:20 |
rack, I'm getting a warning, and the
warning is saying, well look, hold on.
| | 02:23 |
If you don't have a reasonably powerful
machine, you might find that you get some
| | 02:27 |
bad playback problems, if you're using
this effect as part of a rack of other effects.
| | 02:32 |
You might be pushing a machine a little
bit too hard.
| | 02:34 |
So just say okay there, close this panel.
Just going to select this hit, delete,
| | 02:39 |
get rid of it.
And let's go to our efrects menu and take
| | 02:43 |
it from there.
It doesn't really make all that much
| | 02:44 |
difference in terms of the work that
Audition does, but let's keep it simple.
| | 02:49 |
Now I'm just going to leave this on the
default settings.
| | 02:51 |
I want to run over the controls with you,
just a little bit.
| | 02:54 |
But, to be honest, you'll find very often
this effect works just find without you
| | 02:57 |
modifying anything.
You will, of course, depending on your
| | 03:01 |
media, get better or worse results if you
fiddle around with the options.
| | 03:04 |
First of all, let's just see how this
sounds without changing a single option
| | 03:09 |
on the list.
(SOUND) Now, do you notice how the noise
| | 03:16 |
is there at the beginning, but it fades
away over the course of the playback.
| | 03:21 |
And that's the adaptive part of this
noise reduction effect.
| | 03:25 |
The idea is on the fly the system is
going to identify frequencies or noise
| | 03:31 |
that should no the there and frequencies
that should be there, separate them out
| | 03:35 |
and remove the unwanted parts.
The result is actually pretty good in my
| | 03:39 |
experience, but you do have this problem
where you need a lead up in advance.
| | 03:43 |
And in this example the lead up is not
long enough, we've only got about a
| | 03:46 |
second there before the voice begins.
And this is further reason why when you
| | 03:51 |
are recording location sound, if you're
using Audition for post production audio,
| | 03:55 |
it's important that you get some
additional background audio media.
| | 04:00 |
Just so that your post production sound
engineers has something to work with.
| | 04:03 |
You could always just have a run up at
the beginning of unwanted sound and I
| | 04:07 |
suppose if you really wanted to go for it
with this effect you could always copy
| | 04:11 |
and paste and paste and paste and
introduce a lead up of that background
| | 04:14 |
sound to give the adaptive noise
reduction effect something to work with.
| | 04:18 |
Now, just to skim over these controls.
Most of these are pretty straight forward
| | 04:22 |
reduce noise by.
Specifies in decibels how much you want
| | 04:26 |
unwanted parts of the audio to be
reduced; in this case, we're setting it
| | 04:29 |
to 20 dB by default.
There are some presets, of course, that
| | 04:33 |
adjust these a little bit, but the
default usually works pretty well.
| | 04:35 |
Noisiness is one of those slightly vague
controls that defines the amount of the
| | 04:40 |
original audio that has noise in it.
Again, you may just need to play with
| | 04:45 |
this to get better results.
Then we've got the Noise Floor.
| | 04:48 |
Now the noise floor is the minimum level
below which you want Audition to treat
| | 04:53 |
any sound as something that should be
silenced, so just reduce anything below 2
| | 04:58 |
db To zero DB.
The signal threshold is the level above
| | 05:02 |
which Audition will presume that its
hearing a sound a signal.
| | 05:05 |
Something you want to keep rather than
background noise.
| | 05:08 |
The spectral decay rate specifies how
long Audition should hold any adjustments
| | 05:12 |
it has made before releasing them back to
not making any adjustments to the audio
| | 05:17 |
at all.
If you set this to long or too short, you
| | 05:20 |
can get some weird noises.
So play with this to get the best results.
| | 05:24 |
And broadband preservation picks the
frequency that Audition is going to
| | 05:28 |
remove, and then has kind of a window of
upper and lower frequency around that
| | 05:33 |
that won't be affected.
So 100 Hz means that for 100 Hz above or
| | 05:38 |
below the frequency that's removed will
be safe.
| | 05:41 |
So you've got about a 200 Hz window
that's removed.
| | 05:44 |
Maximum and again you can adjust this if
you want to.
| | 05:46 |
With all of these controls you'll find
that extremes will tend to give you some
| | 05:50 |
pretty poor results.
You need to experiment a little bit, if
| | 05:53 |
you want to adjust away from the default.
The FFT size, the Fast Fourier Transform
| | 05:58 |
if you like, is the range of frequencies
or the range of bands that are analyzed.
| | 06:03 |
In any given chunk.
The analysis doesn't take place of the
| | 06:07 |
entire audio all at once.
It's all broken into pieces.
| | 06:10 |
And higher or lower FFT sizes will give
you variable results as well.
| | 06:14 |
As you can tell from the way I'm
describing this.
| | 06:17 |
This is an art and a craft to set up the
effect as much as a technical set of specifications.
| | 06:22 |
And you can see a pretty obvious tick box
here, High-Quality Mode, Slower, which
| | 06:27 |
just means that Audition will try harder
and use more processing.
| | 06:30 |
If I tick this box and click Apply then
click Away.
| | 06:34 |
You can see very, very clearly what's
happened.
| | 06:37 |
It took a little while for the effect to
identify the background noise.
| | 06:40 |
And then it does a pretty good job.
Let's have listen.
| | 06:43 |
(SOUND) Not bad at all.
Remember like any effect you work with in
| | 06:52 |
the Waveform view, this effect is
destructive.
| | 06:54 |
I have now modified my file and I need to
save before those changes are applied.
| | 06:59 |
So, that's working with the Adaptive
Noise Reduction effect in Adobe Audition.
| | 07:05 |
| | Collapse this transcript |
| Simple settings for noise reduction| 00:00 |
Audition has a dedicated Noise Reduction
effect that uses a noise print, a sample
| | 00:06 |
of unwanted noise to identify what should
be removed.
| | 00:09 |
There are complex ways and simple ways of
approaching this, I'm just going to give
| | 00:12 |
you an introduction here.
So, you can find your way through the effect.
| | 00:16 |
First of all, let's open up a piece of
audio that has some noise on it.
| | 00:19 |
I'm going to pick up a piece here in my
cleaning up audio folder.
| | 00:24 |
I have got this piece of audio called
partially cleaned.
| | 00:29 |
Now, let's take this partially cleaned
one.
| | 00:31 |
Okay.
So, I'll just double-click to open that up.
| | 00:34 |
And you can see I've already removed some
pieces of unwanted sound in the
| | 00:37 |
background, but I've got this awful hiss
over towards the end.
| | 00:40 |
And I'm just viewing this in my spectral
frequency display, which is this button
| | 00:45 |
up here at the top.
So first of all, I'm going to zoom in a
| | 00:47 |
little bit.
Let me just scroll with my mouse here, so
| | 00:51 |
we can see the unwanted part o the sound
very clearly.
| | 00:55 |
And if you just play this, you should be
able to hear it very, very easily.
| | 00:58 |
>> when I first arrived, I was really
taken with her.
| | 01:03 |
>> Right.
So, we want to get rid of this background sound.
| | 01:06 |
Let me get rid of my heads up display for
a moment.
| | 01:09 |
I'm going to just pick out a section in
the middle of this.
| | 01:13 |
I'm using my i beam tool here, my time
selection tool.
| | 01:16 |
I'm going to go to Effects > Noise
Reduction, and I'm going to choose
| | 01:22 |
Capture Noise Print, notice this has it's
own keyboard shortcut Shift+P.
| | 01:28 |
Now, I get a little indication of what's
happening here, this is another one of
| | 01:30 |
these popup alerts that I can just
disable permanently if I want to.
| | 01:34 |
The current audio selection will be
captured.
| | 01:36 |
And loaded as a noise print for you.
So, the next time the Noise Reduction
| | 01:40 |
effect is launched.
So, I'll say OK, and that's pretty much
| | 01:42 |
it, nothing happens.
But I've given Audition the section of
| | 01:46 |
the audio that should not be there.
Another reason to make sure when you're
| | 01:49 |
recording location sound that you have a
little bit of time at the beginning and
| | 01:53 |
the end.
Now, the effect that I'm going to use is
| | 01:55 |
not available in the Effects Rack.
You'll notice that we do have some Noise
| | 02:00 |
Reduction and restoration options, and
the full blown Noise Reduction effect is
| | 02:05 |
not on the list.
So, I'm not going to make my selection,
| | 02:08 |
let's pick out this audio using my Time
Selection tool.
| | 02:11 |
Go to Effects > Noise Reduction and
Restoration > Noise Reduction (process).
| | 02:16 |
Notice this has this warning that this is
a process effect rather than one you're
| | 02:20 |
going to work with on the fly.
This is Ctrl+Shift+P or Cmd+Shift+P on a
| | 02:25 |
Mac, and here is the effect.
I can listen to the impact this effect
| | 02:30 |
has and get pretty good results just with
the default settings by clicking play,
| | 02:34 |
and let's have a listen.
>> When I first arrived, I was, I
| | 02:37 |
really taken by her ability.
She had.
| | 02:39 |
>> Pretty good.
And if I'm happy with that, I can click Apply.
| | 02:42 |
And right away, if I deselect you can
see, we've got this beautifully clean area.
| | 02:48 |
See where it's almost perfectly black in
the background there.
| | 02:51 |
There's just no frequency information at
all.
| | 02:53 |
If I drag this navigator over, you can
see quite clearly, this very dark blue
| | 02:58 |
purple area that's background noise in
the earlier part of the interview.
| | 03:01 |
But if I play this now.
>> When I first arrived, I was, I'm
| | 03:06 |
really taken with her ability.
>> And you might be happy with that
| | 03:09 |
just as it stands.
Now, I'm just going to undo, Ctrl+Z, Cmd+Z.
| | 03:12 |
I'm going to go back into the Effect and
just quickly skimming over these controls.
| | 03:19 |
First of all, you see I've a capture
noise print option here, so I could make
| | 03:24 |
another selection if I want to.
And then, capture that newly selected
| | 03:27 |
noise print.
I can also save, export, important noise
| | 03:31 |
prints for you on multiple occasions.
Here, in the graph, notice that on the
| | 03:35 |
right, I've got the decibel scale.
And I've got a frequency range along the bottom.
| | 03:41 |
So, low frequencies on the left, high
frequencies on the right.
| | 03:44 |
And you've got a little bit of a key here
as well, the Noise Floor, High, Low, and Threshold.
| | 03:49 |
So, you can see, the red part is the part
that I want to remove.
| | 03:52 |
There's actually quite a lot of noise,
and the green part is the part I want to keep.
| | 03:56 |
I can click on this band, and there we
go.
| | 03:59 |
I can pull down the effects of my noise
correction.
| | 04:03 |
So, if your background noise is quite
close to the frequency range of your
| | 04:08 |
speech, or one of your signal is.
You may want to just reduce the amount of
| | 04:13 |
adjustment that's being applied, based on
specific frequency ranges.
| | 04:16 |
Again, you can just play with this to get
different results.
| | 04:19 |
I've got a linear scale, or a logarithmic
one.
| | 04:21 |
You see a logarithmic scale.
It's given me this accelerating, or
| | 04:25 |
curved increments.
You see, I've got a lot of low frequency
| | 04:29 |
information here.
So, this is where a lot of the power is
| | 04:32 |
in speech.
It's around about the 3-500khz range.
| | 04:36 |
The details in the 1khz and the sivilance
kick up to maybe 15 or 16khz.
| | 04:41 |
I'm happy with linear though.
Notice that I can choose if I want to
| | 04:44 |
base this Noise Reduction on the left or
the right channel of my audio.
| | 04:49 |
I can select the entire file if I like,
rather than a particular selection.
| | 04:52 |
And then, I've got these two main
controls.
| | 04:55 |
How much Noise Reduction do I want?
That is, do I want to blend in some of
| | 05:00 |
the original unmodified audio?
And when I'm reducing the background
| | 05:04 |
noise, how many dB do I want that
reduction to be.
| | 05:07 |
In this case, we're dropping it by 40 dB.
If your noise is really close to your
| | 05:11 |
main signal, you may find the best you
can do is just reduce it by a bit and
| | 05:15 |
blend in some of the original sound.
During playback, you can also just output
| | 05:20 |
the noise.
If I click this box, and press play.
| | 05:23 |
(SOUND).
There you see, we can tell whether we're
| | 05:28 |
getting too much of the original signal
or we're getting clean sound.
| | 05:32 |
If I expand the advanced controls, let's
pull this up a little bit, you see we get
| | 05:36 |
some very important options here for the
shape of the Noise Reduction that's going
| | 05:42 |
to be applied.
The full explanation for these controls
| | 05:46 |
is really nicely laid out in the Adobe
Help for Audition.
| | 05:50 |
But in a nut shell, the spectral decay
rates is the percentage of frequencies
| | 05:54 |
that are processed with Noise Reduction
when the audio level falls below a
| | 05:59 |
certain level.
Smoothing smooths out variation between
| | 06:02 |
the frequencies.
And so, if this is too high, you can get
| | 06:06 |
a kind of overall background noise rumble
if you like.
| | 06:10 |
And if it's too low, you can get a kind
of bubbling in the audio.
| | 06:12 |
Again, experiment with that.
Precision factor just makes Audition try
| | 06:17 |
harder, the higher the number, the more
accurate the results.
| | 06:19 |
And that can make quite a big difference
to the output.
| | 06:23 |
Transition Width creates a kind of a
smoothing in the amplitude range between
| | 06:28 |
the wanted and the unwanted parts of the
sound.
| | 06:30 |
Increasing this can give you a more
natural result and a bit less echoey
| | 06:34 |
robotic voices, it's worth playing with
this control.
| | 06:36 |
The FFT size, Fast Fourier Transform
size, is how many frequencies are
| | 06:42 |
actually analyzed when calculating this
effect.
| | 06:45 |
As you can imagine, higher numbers are
going to give you better results, more
| | 06:47 |
subtle results.
But it's more processing time.
| | 06:50 |
And the noise print snapshots is how many
samples of the unwanted noise are used in
| | 06:55 |
the captured noise print.
So anyway, I'm going to click Apply.
| | 06:59 |
And you can see, in this case, because
I've reduced the application of the Noise
| | 07:04 |
Reduction using the graph control.
I've still got quite a lot of background noise.
| | 07:08 |
If I undo.
Throw it back in.
| | 07:11 |
Noise reduction.
Let's set this back to default.
| | 07:16 |
Click Apply.
And you can see immediately there's a
| | 07:19 |
dramatic effect.
So, that's working with the Noise
| | 07:23 |
Reduction process effect in Adobe
Audition.
| | 07:26 |
| | Collapse this transcript |
| Removing a specific sound| 00:00 |
Audition has a dedicated Spot Healing
Brush tool that is designed to remove
| | 00:06 |
little minor sounds that you'd like to
get rid of in your audio.
| | 00:09 |
It's a little bit like the equivalent
tool in Adobe Photoshop.
| | 00:13 |
Let's take a look at how to use this
tool.
| | 00:15 |
I'm going to go into my Assets folder and
into Clean Up, and I'm going to open up
| | 00:19 |
this spectralcough.wav audio file.
And you can see there's quite a wide
| | 00:24 |
range of frequencies in this audio.
It's an orchestra playing.
| | 00:27 |
And I'll just play this from the start
and you can hear very, very clearly where
| | 00:30 |
there's a cough that we want to remove,
in fact there's two of them.
| | 00:32 |
You can probably see them already in the
spectral display.
| | 00:40 |
(MUSIC) So, let's say I'm working on this
audio and I want to remove that cough.
| | 00:43 |
It's a pretty difficult thing to do
because it bridges so many frequency
| | 00:46 |
bands, I can't really just use noise
reduction on this.
| | 00:49 |
There's nothing for me to select for that
noise reduction.
| | 00:52 |
So instead I'm going to go to my Spot
Healing Brush tool and the only control I
| | 00:57 |
have for this is the size of the brush,
but I'm happy with 30 pixels.
| | 01:01 |
And I'm just going to draw from top to
bottom right the way across this cough
| | 01:05 |
that I can see in the spectral display.
And let's have a listen and find out how
| | 01:10 |
that compares.
(MUSIC) Fantastic.
| | 01:12 |
Now, you will find that results will
vary, depending on your source audio.
| | 01:20 |
This asset is particularly good for
demonstrating this feature.
| | 01:23 |
But the Spot Healing Brush tool is one of
those things that, in a tight spot, it
| | 01:27 |
gives you exactly what you need, when you
just have that impossible overlap between
| | 01:32 |
the frequencies of the signal, the part
of the audio you want, and the
| | 01:36 |
frequencies of the sound that you want to
remove.
| | 01:38 |
So that's the Spot Healing Brush tool in
Adobe Audition.
| | 01:42 |
| | Collapse this transcript |
| Using the Sound Remover effect| 00:00 |
As well as a dedicated noise reduction
effect designed to remove background
| | 00:04 |
sounds, Audition also has a special
effect designed to remove foreground audio.
| | 00:08 |
And I'll give you an example of how this
works in practice.
| | 00:12 |
If we look under out Assets folder in
Cleanup, we've got a piece of audio
| | 00:16 |
called Speech Siren.
I'm just going to double click to open
| | 00:19 |
this up.
Now I've got my preview editor open here,
| | 00:23 |
so I'm seeing the results of any effects
that I apply.
| | 00:26 |
And we can see very beautifully in our
spectral display.
| | 00:29 |
In fact, let's turn this off for a
second.
| | 00:31 |
We can see the sweep of a siren going
past as somebody gives a piece to camera.
| | 00:36 |
I'll just play a bit of this so you can
hear what's going on.
| | 00:40 |
(SOUND)
>> The shelves were bare of both jam or crackers.
| | 00:48 |
>> Now, the problem's pretty obvious.
That siren and its harmonic, repeating
| | 00:53 |
frequency is going up the scale, is right
over the speech, and it's going to be
| | 00:57 |
pretty difficult to remove.
We certainly can't remove it as if it
| | 01:00 |
were a background sound.
So let's instead try the Sound Remover effect.
| | 01:05 |
First of all I'm going to pick out my
frequency.
| | 01:07 |
So I'm going to just try to take one full
sweep of the siren.
| | 01:12 |
And then I can either go to my Effects
menu, and I can choose to use, Learn
| | 01:17 |
Sound Model, notice this is different
from Capture Noise Print which is for
| | 01:21 |
background sound and regular noise
reduction.
| | 01:23 |
Or I can right click, and I can choose
the option there, Learn Sound Model.
| | 01:27 |
Again we've got the Capture Noise Print
option on the same menu.
| | 01:30 |
So I'm choosing Learn Sound Model.
I get a confirmation that I've done just that.
| | 01:35 |
It even tells you the name of the effect,
Sound Removal Effect.
| | 01:38 |
I'll click OK.
I'm going to deselect by clicking away.
| | 01:41 |
And now I'm going to go back to Effects >
Noise Reduction and Restoration, and I'm
| | 01:45 |
going to choose Sound Remover.
Notice, this is a processing effect.
| | 01:49 |
Immediately, when I go into this effect,
the preview editor comes up and straight
| | 01:54 |
away I'm going to get a pretty impressive
result.
| | 01:57 |
Now, the default settings, if I just
switch back my presets in this effect, to
| | 02:01 |
default they do not too bad at all.
I'm still getting a little bit of the
| | 02:06 |
markings there in the spectral display.
But we even have a dedicated Remove Siren effect.
| | 02:11 |
Because I suppose, microphones, you know,
they're pretty sensitive to sirens.
| | 02:15 |
Any kind of mechanical sound is going to
travel, very often, further than you can
| | 02:19 |
hear when you're on location.
If I play this though, we're getting some
| | 02:24 |
distortion in the speech, so I'll press
play and you can hear what I mean.
| | 02:30 |
>> The shelves were bare of both jam or
crackers.
| | 02:32 |
>> It's not too bad.
It's certainly usable, but if I tick this
| | 02:35 |
box to enhance the speech.
This is kind of a try harder option,
| | 02:39 |
really you can see, there we go.
Performance and statistical
| | 02:43 |
Wiener-Kolmogorov filter pass to minimize
corruption in speech.
| | 02:47 |
So, it's going to try harder.
Just look at how clean that spectral
| | 02:51 |
display is now that I've made these
adjustments.
| | 02:54 |
I'll press play again, I'm using the
space bar.
| | 02:58 |
>> The shelves were bare of both jam or
crackers.
| | 03:01 |
A joy to every child is the swan boat.
>> Now clearly there's still a little
| | 03:06 |
bit of that background sound, but this
really is incomparable to the original.
| | 03:10 |
If I pull this out of the way you can see
all of this has been removed
| | 03:13 |
automatically by this effect.
There are a few controls here that you
| | 03:18 |
can work with.
You can do things like adjust the
| | 03:21 |
expectation of the level of complexity in
the original sound model.
| | 03:25 |
The sound model, remember, is the
selected audio that we want to remove.
| | 03:30 |
You might also find that you get better
results by increasing the number of
| | 03:33 |
refinement passes, this is how many times
Audition is going to go over the media
| | 03:37 |
and attempt to improve the sound.
Enhance suppression will make it a little
| | 03:42 |
bit more aggressive at removing that
background sound.
| | 03:45 |
You have to be a bit careful if you do
that when you're working with voice as a
| | 03:48 |
foreground signal because voice has so
many frequencies.
| | 03:52 |
It could be quite disruptive.
And again, at the bottom here, we've got
| | 03:55 |
options to give Audition expectations for
how complex the required sound, the sound
| | 04:00 |
you want to keep is, and how many passes
to make at analyzing the difference
| | 04:04 |
between the two.
So if I click apply now, it's pretty fast
| | 04:09 |
to apply the effect.
And now we've automatically closed our
| | 04:14 |
preview editor and we're seeing this much
cleaner version of the audio in our
| | 04:17 |
spectral display.
If I play.
| | 04:22 |
>> The shelves were bare of both jam or
crackers.
| | 04:25 |
>> It's a dramatic improvement.
So again this is under the Effects menu,
| | 04:29 |
we're using Noise Reduction and
Restoration.
| | 04:30 |
This is the Sound Remover effect, not the
Noise Reduction effect.
| | 04:35 |
And this is an effect you cannot get
access to when using the effects rack.
| | 04:39 |
It's just not on the list.
This is only available under the Effects
| | 04:43 |
menu at the top of the window.
| | 04:44 |
| | Collapse this transcript |
|
|
8. Multitrack EditingCreating a multitrack session| 00:00 |
Before you can combine multiple audio
files into a Multitrack Session, you need
| | 00:06 |
a Multitrack Session to put them into in
the first place.
| | 00:09 |
And there are a couple of ways of doing
this and I'm, I'm going to show you both.
| | 00:13 |
First of all, at the top of the files
panel I've got this new file menu.
| | 00:17 |
And if I click on this, I've got the
option to create a new multitrack session.
| | 00:20 |
Notice this has a keyboard shortcut of
Ctrl+ n or Cmd+n on the Mac.
| | 00:25 |
I'm not going to use this method, I'm
going to choose a slightly different
| | 00:28 |
shortcut to do this, but I want to show
you the option on the menu, here.
| | 00:31 |
Right next to making a new audio file and
a new CD layout.
| | 00:34 |
I'm going to go into my assets folder and
in here I've got a folder called millionaire.
| | 00:38 |
Which has stems for a multi layered piece
of music.
| | 00:44 |
I'm just going to select the first one,
I'm going to press Ctrl-A or Cmd-A to
| | 00:49 |
select all of them, and I'm going to drag
and drop them into my Files panel.
| | 00:53 |
There we go.
It's going to take a moment for Audition
| | 00:56 |
to go through and check these.
You see I have this Status column here
| | 00:59 |
that tells me Audition's going through
the processing and analysis of these files.
| | 01:04 |
Now I'm going to select all of these, I'm
just going to click on the first one drag
| | 01:08 |
down to the bottom, hold down the Shift
key and click on the last one to make a
| | 01:12 |
list selection.
Of course I could just press command or
| | 01:14 |
control a, but you know there's multiple
ways of doing this.
| | 01:17 |
I'm going to right-click on the selected
items, and I'm going to choose Insert
| | 01:21 |
into Multitrack, and I'm going to choose
New Multitrack Section.
| | 01:25 |
The only benefit of doing this, is that
the items you've chose to get
| | 01:28 |
automatically added to the Multitrack
that you create.
| | 01:32 |
I suppose it just saves you a couple of
clicks rather than making the multitrack
| | 01:35 |
and then putting them in later.
So I'm selecting this option I've got an
| | 01:40 |
invitation to give the session a name.
I'll call this Creating a Multitrack.
| | 01:47 |
That'll do.
I'll just call this Begin.
| | 01:50 |
I need to tell Audition where to place
this, because what we're creating here is
| | 01:54 |
a file.
It's going to be a file in its own right.
| | 01:56 |
So, I'll click Browse, and let's put this
on Let's get into our sessions folder.
| | 02:03 |
Let's make a new folder for multitrack
editing.
| | 02:09 |
Okay.
And I've got some very simple options.
| | 02:11 |
So I'll skip over templates for now.
I've got the sample rate folder section.
| | 02:16 |
I can choose a whole range of Sample
Rates.
| | 02:19 |
This is very much the same as specifying
the sample rate for a new audio file.
| | 02:24 |
The net effect of creating multi track
session is going to be an audio file and
| | 02:29 |
so you want, if possible, your multi
track session to have the same sample
| | 02:33 |
rate or higher.
Remember, with digital media, I suppose
| | 02:36 |
with any media, it's easy enough for you
to remove information.
| | 02:40 |
It's more difficult to put it back in.
So go for higher sample rates if you can.
| | 02:44 |
And higher bit depths, during the process
of creating your media.
| | 02:47 |
You can always get rid of it later.
I'm probably going to head towards
| | 02:51 |
producing a music CD with this, so 44.1
kilohertz, or 44,100 hertz is fine.
| | 02:57 |
It's quite common these days for
professional audio to be produced at 96
| | 03:01 |
kilohertz, but It's your choice.
I then got the option of bit depth.
| | 03:06 |
Again this is the same as creating an
audio file.
| | 03:08 |
32 bit float is the maximum possible
quality.
| | 03:10 |
It's a really fantastic level to work at,
although, of course, when you do output
| | 03:15 |
to a CD you're going to be producing this
at sixteen bit, but I'm going to stick to
| | 03:20 |
32 bit Flow, there's no big harm.
It will take up a bit more space on the
| | 03:23 |
hard drive, but it's not a big problem.
And then I need to choose my mastering.
| | 03:26 |
Now, if I were making an audio file, I'd
have to specify if that audio file is
| | 03:31 |
going to be Mono, Stereo, or 5.1.
When I'm working with a Multitrack
| | 03:34 |
session, I need to specify the same thing
so that my mastering controls, my volume
| | 03:39 |
controls if you like, are suitable for
the number of channels I'm going to output.
| | 03:43 |
In this case, I'm happy with Stereo.
This is going to be stereo music.
| | 03:46 |
So that's fine.
I'm going to click OK.
| | 03:50 |
Now remember the process I went through
to create this multitrack session, was to
| | 03:53 |
select some items that were in my Files
Panel.
| | 03:57 |
This means that, in fact there's two
parts of the process I'm showing you.
| | 04:00 |
One is to create the multitrack session.
We've just done that.
| | 04:03 |
The second is to put those items into the
session.
| | 04:06 |
And I've got a couple of options.
Do I want to add them all to the same track?
| | 04:11 |
Or do I want to place each file on it's
own track?
| | 04:13 |
And there's an important piece of
additional information here.
| | 04:15 |
I've got the option to hold down the Alt
key.
| | 04:18 |
When dragging multiple clips into a
multitrack session, to perform the
| | 04:22 |
ultimate clip insert option.
We're going to define the default
| | 04:27 |
behavior by choosing an option on this
dialog box.
| | 04:31 |
I'm going to choose to put each file in
its own track.
| | 04:33 |
That default behavior is in the
preferences you see right here.
| | 04:36 |
You can change it later by choosing
Preferences > Multitrack > Clips.
| | 04:40 |
That's under the Edit menu, or under the
Adobe Audition menu on Mac OS.
| | 04:44 |
But you can always change your mind about
how these items are added to Multitrack
| | 04:48 |
session, by holding down the Alt key.
So I'm going to click OK, and there they
| | 04:52 |
all are.
They've all been added.
| | 04:54 |
One on top of the other, on top of the
other into this multitrack session.
| | 05:00 |
Now one thing to note about these items,
if I just zoom in on the multitrack here
| | 05:04 |
so you can see, they've jumped in quite
late into my multitrack, is that these
| | 05:10 |
all have exactly the same duration.
And the reason they have the same
| | 05:14 |
duration is that they're stems.
They are each individual piece of audio
| | 05:18 |
taken from a multitrack session and
converted into one long stretch of sound.
| | 05:24 |
So, for example I've got my all Effects
Track, right channel and left channel.
| | 05:30 |
And if I open this up as a waveform, pull
down so you can see it here.
| | 05:35 |
You can see even if I've got gaps.
And maybe if I show you a drum.
| | 05:39 |
Let's have a look at that one as well, or
the bass even.
| | 05:42 |
There you go.
You can see, even though I have gaps in
| | 05:46 |
the bass in the wave form, I'm getting
this as a single long piece of audio.
| | 05:50 |
The benefit of using stems when you're
sharing audio between multiple applications.
| | 05:55 |
Is that it makes it pretty much
impossible to get the timing wrong
| | 05:58 |
between all of these different tracks.
The down side is, I don't have the
| | 06:02 |
individual pieces.
I don't have for example, if I zoom in
| | 06:05 |
here, an individual item that I can move
around in a Multitrack session for each
| | 06:10 |
of these drum beats.
The upside is if I lay these all down as
| | 06:13 |
I have been If I switch to the multitrack
view.
| | 06:17 |
If I lay these all down one next to
another, next to another, and let's just
| | 06:21 |
zoom in a little so you can see it.
I'm just going to scroll with my mouse
| | 06:25 |
over the track headers, to make them a
little bit shorter, you can see I'm
| | 06:29 |
getting each of these items.
Perfectly aligned, based on the original
| | 06:34 |
multitrack session in which they were
created.
| | 06:36 |
So now, if I'm taking over working on a
project, let's just zoom out a little bit.
| | 06:42 |
There we go.
If I'm taking over working on this, I
| | 06:45 |
know that everything is exactly in the
relative positions that it was in the
| | 06:50 |
original session.
It's not as flexible as having the
| | 06:52 |
individual parts.
But it's certainly more secure.
| | 06:55 |
And it's a common way.
Of sharing work from one post production
| | 06:58 |
sound editing system to another.
So that's creating a new multitrack
| | 07:02 |
session in Adobe Audition.
You can do it by using the new File menu,
| | 07:06 |
or you can do it by right-clicking on
items inside the Fast Panel and choosing
| | 07:10 |
Insert into Multitrack.
You'll notice that if you have multitrack
| | 07:15 |
session already, you get the option of
choosing that on this list.
| | 07:18 |
If you don't, you just have the option to
create a new multitrack session.
| | 07:22 |
| | Collapse this transcript |
| Navigating the multitrack view| 00:00 |
Lets take a little look at the Interface
when we're working on a Multitrack session.
| | 00:05 |
So I'm going to start up by going into
our Sessions folder here.
| | 00:08 |
And I've got a Multitrack Editing folder
and inside of that we just expand this
| | 00:14 |
folder a little bit.
We can see a subfolder which has this
| | 00:19 |
navigating the Multitrack view Begin
folder.
| | 00:22 |
So, I'm just going to double-click to
open up the session I've put in there and
| | 00:26 |
we can see its very simple most of the
track session with the series of audio
| | 00:30 |
files in it.
And I'm just going to begin by scrolling
| | 00:33 |
down with my mouse to reduce the height
of these tracks in the Multitrack view.
| | 00:39 |
Now, before I go any further you'll
notice that I opened up this Multitrack
| | 00:41 |
session and all of these files were
automatically opened.
| | 00:45 |
Not just the ones that are inside the
session, but also the items inside the
| | 00:49 |
Files panel.
And this is because if I go into the Edit
| | 00:52 |
menu and go into Preferences and go into
Multitrack.
| | 00:55 |
You’ll see this, this tick box reference
all open audio and video files when
| | 01:00 |
saving sessions and this is a pretty
useful tick box.
| | 01:02 |
This is off by default, but if you turn
it on then files that are in the Files panel.
| | 01:07 |
Whether or not, they're included in a
session, will be there again when you
| | 01:12 |
open up the session.
So, it's very good if you want to treat
| | 01:14 |
your sessions as a work in progress.
Okay, moving on then, I've got over on my right.
| | 01:19 |
I'm just going to resize the panel a
little bit.
| | 01:22 |
Several tracks, which looks kind of
complicated, but genuinely isn't once you
| | 01:26 |
realize that each of these tracks is
exactly the same as all the others.
| | 01:30 |
So first of all, at the top I've got a
navigator.
| | 01:32 |
If I scroll with my mouse to zoom in, I
can navigate along here.
| | 01:36 |
Now what I'm seeing is one big band of
green, and that's because these are
| | 01:40 |
musical stems that just begin and end
perfectly in sync with each other.
| | 01:43 |
Normally you'd see A little map of your
entire session, I'm just going to zoom
| | 01:47 |
out with my mouse wheel here.
Notice I've gotta zoom button on the top
| | 01:50 |
as well and I've got familiar zoom
controls are at the bottom which are just
| | 01:55 |
the same as the way from view.
I also have very, very similar play back controls.
| | 01:59 |
You've notice that I got an extra button
enabled now, Zoom Selected Track.
| | 02:03 |
If I click this, it will make which ever
track I have selected expand vertically
| | 02:08 |
to fill the visible frame, this Editor
panel.
| | 02:12 |
So if you really want to just zoom in and
work on the maximum size wave form that
| | 02:18 |
you can have, click that button, click it
again, and it'ill go back to the original size.
| | 02:23 |
As I mentioned, every track is really
just a repeat of the other tracks inside
| | 02:27 |
this session.
And you’ll notice if I just deselect,
| | 02:30 |
I’ve got multiple pieces of audio, of
course these are big, long stems.
| | 02:34 |
Normally, I’d have individual pieces of
audio.
| | 02:36 |
And I’ve got some standard controls like
mute, solo and also a record enable.
| | 02:42 |
You can record directly into multiple
tracks if you want using Audition
| | 02:46 |
provided you've got the hardware for the
right inputs.
| | 02:49 |
Much of this Interface is the same as the
Waveform view.
| | 02:52 |
I've got a Time ruler along the top which
I can right-click on and change the time display.
| | 02:56 |
I've got little Time Indicator at the
bottom left and over at the bottom right
| | 03:01 |
I've got different information about how
much I can see.
| | 03:03 |
And where my playhead is and so on.
Where this gets interesting is in the
| | 03:07 |
buttons over on the left in these so
called track headers.
| | 03:10 |
So, you'll see that I've got Track 1, 2,
3, and so on.
| | 03:14 |
This area, which you can probably just
make out if I click on a few different ones.
| | 03:18 |
Gets very slightly lighter grey when
selected, and if I want to, I can scroll
| | 03:24 |
with my mouse or I can Click and Drag on
an individual track.
| | 03:28 |
Which I'm going to do here with the Track
2 to display a whole bunch of additional controls.
| | 03:34 |
I'm going to do this with Track 3 as
well.
| | 03:36 |
And you can see, there they all are.
If I use the mouse wheel, all of the
| | 03:40 |
tracks will expand and contract together.
And to be honest, I tend to work this way.
| | 03:44 |
I tend to scroll with the mouse, rather
than going to the trouble of Clicking and Dragging.
| | 03:49 |
If you scroll up and down over the tracks
themselves you'll scroll up and down in
| | 03:53 |
the view.
Scrolling on the headers makes them
| | 03:55 |
larger and smaller, and displays more
controls.
| | 03:58 |
At the very top left here, above the
track headers, these are the track
| | 04:02 |
headers, you've got four buttons which
are modes for the track headers, themselves.
| | 04:08 |
So, the first one is for controlling
inputs and outputs for each individual track.
| | 04:12 |
So, just as you can configure your
hardware to record into a WAV form, you
| | 04:17 |
can also specify what the input would be
for this one track, Track 4.
| | 04:21 |
This also has Volume and Pan controls as
well, and a few other important options,
| | 04:25 |
including little volume meter.
Next up I've got Effects and this gives
| | 04:30 |
me, if I just resize this a little bit
more, this gives me a mini effect rack
| | 04:33 |
for each individual track.
In fact this is repeated in the
| | 04:37 |
Multitrack Effects rack, which you'll
notice has both a Clip and Tracks mode.
| | 04:43 |
Then here, I've got the option to Create
Multiple Sends.
| | 04:46 |
Now, a send is, if you like, just an
additional output for the track.
| | 04:50 |
Classic use of a send would be maybe if
you've got five tracks where you want to
| | 04:54 |
have the same effect applied.
Send all of those tracks out to another
| | 04:58 |
track to use as a so called submix.
All the audio goes into the submix, and
| | 05:03 |
you can apply the effects to them as a
group, instead of individually.
| | 05:07 |
It just means less clicking in the end.
And next up, I've got an EQ control.
| | 05:11 |
And applying equalization to your audio
is such a standard thing to do, that
| | 05:16 |
Audition gives you a whole category of
controls just for that, inside the track.
| | 05:22 |
One last thing to mention as we're
navigating around our editor here in the
| | 05:27 |
Multitrack view, is we also have a Mixer
tab.
| | 05:29 |
And again this just looks like a wall of
buttons when you first see it, but just
| | 05:34 |
look, all of these are a repetition in
exactly the same way that the tracks are.
| | 05:38 |
Each of these, and I'll just make this
really obvious, I'm going to go back to
| | 05:41 |
the Editor.
And I'm just going to click on the name
| | 05:43 |
of track four and I'm going to make up a
name.
| | 05:45 |
I'm going to call this Baseline, or
Strings, in fact, which is the audio.
| | 05:48 |
There we go, so I've renamed this track
Strings, and if I go to my mixer, you'll
| | 05:53 |
see, low and behold, I now have a mixer
entry called Strings.
| | 05:57 |
And what we're seeing here is a repeat of
much of the controls that we've got on
| | 06:00 |
the track.
But just in a vertical stack, and with
| | 06:03 |
the addition of this Fader control.
So, it's really a question of how you
| | 06:07 |
want to interact with your mix.
Remember in this case we're working with
| | 06:10 |
entire tracks, and in the Editor view, we
can work with individual pieces of audio
| | 06:15 |
here in the timeline.
So, we can work on individual parts, move
| | 06:20 |
them around, and adjust audio level for
them.
| | 06:22 |
So, that's an overview introduction to
the interface in the Multitrack view in Audition.
| | 06:27 |
| | Collapse this transcript |
| Understanding the track header controls| 00:00 |
Let's take a moment to go into a little
more detail on these important track
| | 00:04 |
header controls.
To explain this I'm just going to take my
| | 00:08 |
track one, and I'm going to re-size it
nice and large and I'm going to re-size
| | 00:12 |
this horizontally as well.
The session I'm working on has broken
| | 00:16 |
down pieces from my original stems, so
we've got a bit of a better sense of when
| | 00:21 |
the audio is kicking in for each of these
tracks.
| | 00:23 |
And if I just start by showing you these
controls here.
| | 00:26 |
I've got a Mute, which just stops me
being able to hear anything on the track.
| | 00:30 |
I've got a Solo, which means I'll
exclusively hear what's on this track.
| | 00:34 |
I've got a Record Enable which means,
well you can see right away there as I'm
| | 00:39 |
speaking, the level is appearing from the
track.
| | 00:41 |
This is now going to record directly onto
the track, if I hit the record button
| | 00:46 |
down here.
And just next to this I've got an I
| | 00:49 |
button which turns on monitor input.
Now I am monitoring the input here on the track.
| | 00:54 |
But now down in the Level's Panel.
If I turn this on (SOUND) then whatever I
| | 00:59 |
have said to record into this track is
now going to display here in the levels
| | 01:05 |
panel as well.
And of course I've had multiple tracks
| | 01:07 |
set up, I'd be getting the summed level
for all of the inputs here in the levels panel.
| | 01:13 |
Just under the buttons here, you see I've
got a a sum to mono button, which is
| | 01:19 |
pretty useful if I've got multiple
channels in my audio.
| | 01:22 |
And I want to just sum them to a single
Output Channel.
| | 01:25 |
I can do so by clicking on this button.
You just turn it off and on.
| | 01:28 |
It's pretty straight forward.
Now, bearing in mind that my session here
| | 01:32 |
is a stereo one, I've got a simple left
and right pan control for the entire track.
| | 01:38 |
And as I've mentioned previously, anytime
you see numbers with an underline just
| | 01:42 |
like this, pretty much any Adobe
application, it means you can click and
| | 01:46 |
type, or you can click and drag.
And you can see here I'm dragging left
| | 01:49 |
and right and getting different values.
Just click on this, press zero, tab out
| | 01:54 |
of it and I've reset it.
I also have an overall volume control for
| | 01:59 |
the track.
Now if I just click back a bit from my
| | 02:02 |
play head and press the Space Bar to
start playing, (MUSIC), let's solo the
| | 02:07 |
track, (MUSIC) and now I can click and
drag and pull this entire track down if I want.
| | 02:17 |
I can bring this pretty low, just push
the Spacebar to stop.
| | 02:22 |
Now, this is very useful as long as
you're organized in the design of your session.
| | 02:27 |
As long as you know, for example, as I do
here, that it's all vocals on this track
| | 02:31 |
and it's the same vocalist and it's the
same mic set up, then I can just use this
| | 02:36 |
as an adjustment for the level within the
mix.
| | 02:38 |
I don't have to go into individual.
Pieces of clip, individual clip segments,
| | 02:42 |
and right now I'm in this EQ mode for my
Track Headers.
| | 02:46 |
Notice though that whatever mode switch
to the top and bottom of the track header
| | 02:50 |
don't change.
I'm just going to pull this right down so
| | 02:53 |
you get a nice big view of this.
Here in the middle I've got my inputs and
| | 02:56 |
outputs, and the inputs available are
based on my hardware and the drivers that
| | 03:02 |
are installed for it.
I've also got the output for the entire
| | 03:05 |
track, and in this case it's going to the
Master.
| | 03:07 |
Now the Master is your final output for
your multitrack session.
| | 03:11 |
If I scroll right down to the end of the
list, you'll see that always at the end,
| | 03:15 |
I've got a Master Track.
The master track, if I just let me see if
| | 03:19 |
I can just re-size this a little and just
drag down, let's use the mouse.
| | 03:24 |
You'll see that the master track has much
reduced controls.
| | 03:27 |
I can put effects on, I can Apply EQ, but
what I can't do is specify sends, because
| | 03:34 |
those sends are designed to go to sub-mix
tracks.
| | 03:37 |
That's an intermediate track for
generally working with effects, and level
| | 03:41 |
for a cluster of other tracks.
You can combine outputs into a single
| | 03:45 |
volume control width for example, I can
do output, but I can't do input control.
| | 03:51 |
The input controls are all from the other
tracks.
| | 03:53 |
This is my overall level, in an
emergency, where you've really got no
| | 03:57 |
time at all to work on your mix, you can
always use this Master amplitude control
| | 04:02 |
to adjust the output level.
This sometimes happens, of course, if
| | 04:05 |
you're working with different monitors.
If you're working with really small
| | 04:10 |
little tiny speakers on a computer
screen.
| | 04:13 |
It might sound okay but then you get it
onto proper studio monitors and you
| | 04:16 |
realize that actually you have a problem,
you need to drop the level.
| | 04:20 |
You can toggle between these viewing
modes at any time, but just notice that
| | 04:23 |
the overall amplitude and pan control
will remain, these buttons will remain
| | 04:27 |
and so will this menu at the very bottom.
I'm just going to zoom out a little with
| | 04:32 |
my mouse and I'm going to expand this
Read control.
| | 04:36 |
What we're seeing here is a track based
envelope control.
| | 04:39 |
And in order post production this word
envelope, which for me, I have to admit,
| | 04:43 |
just means putting a piece of paper in an
envelope and posting it.
| | 04:46 |
In the context of audio post production.
It means setting up a line, much like
| | 04:51 |
this one, often called a rubber band, for
you to adjust amplitude over time.
| | 04:56 |
Remember, we're talking about doing this
on the track, so you might have a number
| | 05:00 |
of different audio clips that you're
going to try out.
| | 05:03 |
Maybe multiple pieces of music you're
building into a mix and you can have the
| | 05:07 |
level rise and fall in different ways,
right the way along the track perhaps in
| | 05:10 |
the context of other pieces of audio
you've got.
| | 05:13 |
A classic example would be voice over
with background music.
| | 05:16 |
You could specify how the audio's going
to go up and down over time, and then
| | 05:20 |
just swap out multiple pieces of music to
see how they compare.
| | 05:23 |
So again notice that I have to expand
this control in order to have access to
| | 05:28 |
it, and this is the same for every track.
Right at the top here, I've got a couple
| | 05:32 |
of other interesting buttons.
I've got a Toggle Snapping button, which,
| | 05:37 |
well if I just, let me try dragging
something here.
| | 05:41 |
If I grab this clip and move it, let me
turn it on of course first of all, just
| | 05:46 |
undo that.
If I now drag, you notice that the piece
| | 05:49 |
is jumping into position.
It's snapping to align itself with other
| | 05:54 |
pieces of audio, on my time line.
And this is simply a useful way of
| | 06:00 |
aligning things.
So that's the Snapping Mode.
| | 06:03 |
Then, I've got a metronome track.
And you can enable and disable a
| | 06:06 |
metronome which is pretty useful if
you're using Audition as a displaced recorder.
| | 06:10 |
And lastly we have this toggle global
clip stretching button, and if I turn
| | 06:15 |
this on you'll notice a whole series of
white triangles appear.
| | 06:18 |
In the top left and right corners of each
clip in my session, and you go off and
| | 06:24 |
on, let's get rid of the metronome for a
second.
| | 06:26 |
These triangles too is stretch the
duration or compress the duration of the clip.
| | 06:31 |
If I bring up the Properties panel,
you'll notice that any clip I select, has
| | 06:36 |
a whole bunch of properties available,
including whole range of Stretch Options.
| | 06:40 |
And again stretching just means changing
the playback duration, and its something
| | 06:44 |
that audition does very well.
You can globally turn this option off and
| | 06:49 |
on, by clicking on this button.
So that's an introduction to the main
| | 06:52 |
controls on the track headers in Adobe
Audition.
| | 06:55 |
| | Collapse this transcript |
| Adding, moving, and removing clips| 00:00 |
Once you have created a multi track
session in Audition, the next thing
| | 00:05 |
you're going to want to do is put some
audio into it.
| | 00:08 |
And this is a very straightforward thing
to do.
| | 00:10 |
You really just drag and drop things
wherever you want them within the mix.
| | 00:14 |
Remember time moves from left to right in
the multi track editor.
| | 00:18 |
And all of the audio tracks will play at
the same time.
| | 00:22 |
Right now by default I've got six audio
tracks in this new session I've created.
| | 00:27 |
This is under my sessions directory in
the media.
| | 00:30 |
And I've got a directory called
Multitrack Editing, and inside of there
| | 00:35 |
I've got Adding - Moving - Removing, and
you'll find this session in that directory.
| | 00:39 |
So, if I want to add some audio, first of
all I'm going to browse to it.
| | 00:43 |
I've got some little pieces of sound
inside my Simply Falling folder and
| | 00:49 |
inside there, I've got this Sounds folder
And this is just the couple of the
| | 00:52 |
instruments from that multi track
session, I'm going to select these in the
| | 00:56 |
media browser and drag them into the
files panel.
| | 01:00 |
Now I've already specified in my
preferences in audition that if I select
| | 01:05 |
multiple items in the files panel.
Which I've done here by lassoing.
| | 01:09 |
I can drag and drop them and they'll come
onto their own audio tracks.
| | 01:13 |
If I just release now, you'll see.
If I just scroll down a little bit with
| | 01:17 |
my mouse, they've all gone onto their own
separate tracks, which may not be what
| | 01:21 |
you want to do.
If I just undo with Ctrl or Cmd+Z.
| | 01:24 |
If I drag again, and this time I'm going
to hold down the alt key.
| | 01:30 |
Now, I'll tell you what I'm going to do,
I'm just going to press the escape key
| | 01:33 |
before I let go of the mouse button.
But notice when I do that, I cancel the
| | 01:38 |
mouse operation completely.
So if you're part way through doing
| | 01:41 |
something with the mouse, you can just
press escape before you finished and just
| | 01:45 |
begin again.
So I want to do this with track one, I'm
| | 01:48 |
going to click and drag over to track one
and notice I've got all of these clips
| | 01:52 |
lined up vertically, I'm going to hold
down the alt key and that's going to
| | 01:55 |
switch the behavior to putting them all
to one track.
| | 01:59 |
Now when I realize the mouse button you
can see if I zoom out a little bit there
| | 02:04 |
are those five items.
How you do this is up to you.
| | 02:07 |
I'm just going to Undo again.
Let me just drag one over.
| | 02:11 |
Let's take the first keys item and drop
it in, and you'll notice that I get a
| | 02:14 |
little preview of where it's going to
land and I get a little image of the wave form.
| | 02:19 |
I'm going to release the mouse and there
it is in position...
| | 02:22 |
Now I'm going to take another one, let's
put this up here.
| | 02:24 |
Let's take the guitar, this is going to
be a pretty random piece of music, but
| | 02:30 |
you can see I'm constructing the
timeline, I'm building this session.
| | 02:34 |
Remember all these tracks will play the
same time as each other.
| | 02:37 |
And it I play this now, what I'll do is
just scroll down and pull down the master
| | 02:43 |
volume control here so it's a little bit
quieter.
| | 02:45 |
If I scroll back up again and press play
with the space bar, it's a little delay
| | 02:54 |
coming on (MUSIC) And there it is.
And maybe I'll throw in the keys, again.
| | 03:04 |
Sounds pretty awful.
Let's pull in some guitar.
| | 03:13 |
(MUSIC) You'll notice that I can leave
this playing and I can just drag the
| | 03:16 |
items around and let the playhead work
its way through whatever media I put
| | 03:20 |
underneath it.
So if you've got a whole bunch of
| | 03:22 |
different elements that you'd like to
introduce to the mix and just get a feel
| | 03:26 |
whether they work or not, that fine, hit
the play button and drag and drop things
| | 03:30 |
where ever you want.
As you can see, I can move things between
| | 03:35 |
any track.
I can drag and drop them very, very easily.
| | 03:38 |
But, if I click anywhere other than on
the header If you like, the top bar of an
| | 03:44 |
individual clip.
I'm going to make a selection, instead of
| | 03:48 |
moving it.
And if you look very closely, I'm just
| | 03:50 |
clicking away there to deselect.
If you look very closely, here, my cursor
| | 03:54 |
has a little tiny, four pointed arrow
thing going on.
| | 03:57 |
Just next to the cursor itself.
And if I go a little bit lower, now I've
| | 04:02 |
got the.
Maybe.
| | 04:04 |
And this is because if I look up at my
tools here.
| | 04:06 |
I've got my Time Selection Tool.
Another way to move items inside your
| | 04:11 |
Multi-track Session is to use the right
mouse button instead of the left mouse button.
| | 04:17 |
And that way, you can click on any part
of the clip segment to move it.
| | 04:21 |
See?
Now I'm just using the right button
| | 04:24 |
instead of the left.
So this gives you a really nice way of
| | 04:27 |
diving into audio, making selections and
moving them around as much as you like.
| | 04:30 |
I can also lasso, you see, it's pretty
subtle but if you look just where my
| | 04:34 |
cursor is, there's a little dotted white
line and that dotted white line is both
| | 04:39 |
setting up the time selection because
that's the tool I've got, and also
| | 04:42 |
selecting multiple segments.
If I now move any of these, they're going
| | 04:47 |
to move together.
If I just deselect for a second notice
| | 04:50 |
that if I select an item, extra little
triangles appear at the bottom left and
| | 04:55 |
right corners of the segment.
If I click and drag, I can trim and
| | 05:00 |
adjust the part of the audio that I'm
using in my session.
| | 05:03 |
Notice also that if I have a segment
selected I can hit the delete key, and
| | 05:07 |
it's gone.
So that's how to add, move, and remove
| | 05:11 |
clips when you're working with a multi
track session in Adobe Audition.
| | 05:15 |
| | Collapse this transcript |
| Staying organized with track colors| 00:00 |
I've got quite a number of clips inside
my multi-track session here and it's
| | 00:06 |
starting to look a little bit like an
overwhelming wall of green and one way to
| | 00:10 |
stay organized, in a multi-track session,
is to use color labels or just colors,
| | 00:15 |
generally in order to identify different
types of media.
| | 00:18 |
I'm just going to pull the track header
back a little bit here.
| | 00:21 |
And first of all, let me choose a couple
of these.
| | 00:24 |
I'm going to click and drag to lasso
across these two horn section pieces of audio.
| | 00:30 |
And if I go now to my properties panel
now that I've got these selected, I can
| | 00:35 |
expand my basic settings.
And you'll notice that under the
| | 00:38 |
properties panel I actually have quite a
few controls for my individual clip segments.
| | 00:43 |
Unlike when working in the waveform mode,
changes that you make in the multi-track
| | 00:48 |
editor are non-destructive.
So I can change clip gain, make all kinds
| | 00:52 |
of changes, it's not going to make any
difference to the original file.
| | 00:54 |
And one of the options I have here is
clip color.
| | 00:56 |
Now I'm going to click this icon and
let's choose something really obvious,
| | 01:00 |
I'll choose orange and click OK.
So now if I deselect you can see I've got
| | 01:05 |
these two markedly different clip colors.
And obviously I could go right the way
| | 01:09 |
through my session and apply colors to
each individual segment.
| | 01:12 |
But also you'll notice, over on the far
left here, each of my tracks also has a
| | 01:20 |
color option.
So let's say for example, I'm going to
| | 01:22 |
make my track one and track two blue.
That was a slightly darker blue, wasn't it?
| | 01:29 |
Okay, so now I've got two tracks that are
blue and you'll notice that every clip on
| | 01:35 |
the track inherits that color.
Now, I'm just going to mess up my
| | 01:39 |
multi-track session a bit here.
I'm going to grab one of these strings
| | 01:42 |
segments and I'm going to push it up onto
track one and lo and behold it inherits
| | 01:46 |
the color of that track.
So, this is great way of staying on top
| | 01:50 |
of your audio.
Provided you're organized about which
| | 01:53 |
track is used for what kind of sound.
And this is something you're going to
| | 01:56 |
hear from me quite a lot.
It's important to stay organized when
| | 02:00 |
working with complex audio compositions.
Now watch what happens if I grab this
| | 02:05 |
horns piece of audio that I previously
colored.
| | 02:07 |
Lo and behold, it does not take the color
of the track.
| | 02:12 |
So, this behavior of automatically
recoloring clips when you move them onto
| | 02:17 |
a track that has a color is only relevant
if you're working with clips that haven't
| | 02:22 |
explicitly got a color assigned to them.
That is clips that are using the default color.
| | 02:28 |
If I pull this strings clip down onto a
track that does not have a color that's
| | 02:33 |
been changed, in this case it's just the
default green.
| | 02:37 |
You see it reverts back to the original
color.
| | 02:40 |
Now if I go to my Edit menu and I choose
Preferences and this would be the
| | 02:44 |
Audition menu on Mac OS and Preferences
and I choose Appearance you'll notice
| | 02:50 |
that down here I've got a range of
options to do with default color schemes
| | 02:54 |
and the brightness of the interface and
so on.
| | 02:56 |
I can brighten this up or darken it down
and in fact, if I do change this in a way
| | 03:00 |
I don't like I can go up here to the
Presets menu and set this to default.
| | 03:06 |
But notice down here I've got Show Track
Color Bars in Multi-track.
| | 03:10 |
So you can just disable those color bars
if they're no use to you at all.
| | 03:14 |
And then I've got Automatically Change
Unmodified Clip Colors to Match Track Color.
| | 03:19 |
And again by unmodified, what we mean is
clips that we haven't previously defined
| | 03:24 |
a color for.
This tick is on by default, and so that's
| | 03:27 |
the behavior we're getting.
If I take the tick out and click OK,
| | 03:31 |
remember, now we've got a blue track
here, up at the top.
| | 03:34 |
But, lo and behold, all of the clip
colors remain unchanged.
| | 03:39 |
So actually, although it's a pretty wordy
tick box, it's quite an important one.
| | 03:44 |
This option to change unmodified clip
colors to match the track color allows
| | 03:49 |
you to get a really clear visual
indication of which track is which when
| | 03:53 |
you're working.
And I think it's great.
| | 03:55 |
I think it's a useful option.
I'm going to turn this on, click OK, and
| | 03:59 |
you just get a much clearer indication of
the structure of your session.
| | 04:02 |
Again, provided you're quite disciplined
about which track is which.
| | 04:07 |
One way to help with that, of course, is
to rename your tracks.
| | 04:10 |
Just click on the name and give it a name
that's useful like strings, vocals, bass,
| | 04:14 |
whatever you want.
But another which works very, very well
| | 04:17 |
for the way memory works is to define
colors that are perhaps consistent.
| | 04:23 |
Maybe you'll choose one color for all of
the strings and one for all the vocals
| | 04:27 |
and so on.
So that's how to stay organized when
| | 04:30 |
working, particularly on a complex
session, by using track colors in Adobe Audition.
| | 04:35 |
| | Collapse this transcript |
| Understanding the mixer| 00:00 |
While much of your work in Adobe Audition
is going to take place in the Editor view.
| | 00:05 |
The mixer also provides you with
excellent tools, and pretty much the same controls.
| | 00:10 |
All be it, without access to the
individual audio segments in your sessions.
| | 00:15 |
Whereas in the Editor view, we have these
four different modes for our track headers.
| | 00:21 |
If I just zoom in with the mouse a
little.
| | 00:23 |
You can see toggling between these gives
me access to different controls in the
| | 00:27 |
Mixer view because we don't have all that
space taken up.
| | 00:31 |
With the clip segments we get pretty much
all those controls directly in position.
| | 00:35 |
The major difference of course is we now
have this Fader control for adjusting level.
| | 00:40 |
Now in this particular session I've
already dropped the Master Amplitude down
| | 00:45 |
a little bit.
I've set this to minus 21.9 dB.
| | 00:48 |
Just so you can hear me s I'm playing
back the audio and making adjustments.
| | 00:52 |
So first of all I've got a Buzz setup
here and I got each of my tracks
| | 00:57 |
displayed as the tracks appear top to
bottom I'll just zoom out a little bit.
| | 01:01 |
They've here talked about some in the
Editor view in the mixer they go left to right.
| | 01:06 |
So here you can see I've got Track 1,
Track 2.
| | 01:08 |
Then I've got my Vocals Bass and then
I've got Track 3, Strings and so on.
| | 01:12 |
If I go back to the Editor, you can see
if I just scroll up, I'm positioning my
| | 01:17 |
mouse over the tracks here to scroll up
and down rather than to zoom.
| | 01:20 |
And you can see, there they all are
appearing.
| | 01:22 |
Now this toggling back and forth can be a
bit of a pain.
| | 01:25 |
So, we're going to be a bit limited in
screen space here, I'm going to just drag
| | 01:29 |
the divider over a little.
And I'm going to to grab the tab for the
| | 01:34 |
mixer and I'm going to pull away.
And as I do this you see I get a
| | 01:37 |
highlight that shows where that panel is
going to land when I release my mouse.
| | 01:43 |
You see, I get this nice little
indication.
| | 01:44 |
If it's a square like this, it's going to
share the frame with the other panels in
| | 01:49 |
the frame.
And if I put it to one side, I get this
| | 01:52 |
trapezoid, it's going to create a new
frame.
| | 01:54 |
And that's what I want to do.
I'm going to pull over here and create a
| | 01:56 |
new frame to the right of the editor.
And now, again, I know it's kind of a
| | 02:01 |
wall of buttons, but now I've got my
editor here.
| | 02:04 |
See the orange outline.
I think Adobe calls that color Mango.
| | 02:08 |
In fact there's my editor and here to the
right, I've got the mixer.
| | 02:12 |
And you can see if I just scroll with the
mouse to zoom a little bit on the Track
| | 02:17 |
Heights, as my Track 1 and if I drag the
Fader, can you see that?
| | 02:21 |
Just watch this control as I drag the
Fader in the mixer, it's adjusting the
| | 02:26 |
Volume, the Amplitude control for that
track.
| | 02:30 |
And so it is for all of the controls, in
the Audio Mixer.
| | 02:34 |
There's the Mute, Solo, Record and so on.
I don't have any effects set up yet for
| | 02:40 |
this track.
Let me just scroll up a bit, and let me
| | 02:44 |
go in.
This is a mini effects rack, just like
| | 02:47 |
the one over on the left.
In fact, it, it is the same effects rack,
| | 02:52 |
but accessed by a different view.
Let's just put any old effect on here
| | 02:55 |
and, low and behold, you can see I've got
amplify there.
| | 02:58 |
And now I have the option to enable or
disable the effects for the track.
| | 03:03 |
Now you'll notice, I can't expand this
section of the mixer.
| | 03:08 |
I want to see that effect that I've added
to the list.
| | 03:10 |
And the button, this disclosure triangle
as it's called, is grayed out.
| | 03:14 |
And the reason is, I just don't have
enough vertical space to do it.
| | 03:17 |
So if I flatten another part of the
interface, for example the EQ section, lo
| | 03:22 |
and behold there's my amplify.
Now look at this, I've got amplify over
| | 03:26 |
in the effects rack, I've got the same
thing here on Track 1, and the same thing
| | 03:30 |
here in the Mixer.
And you're not imagining it, this really
| | 03:34 |
is duplication of that information.
I could modify this in any of these three places.
| | 03:40 |
Choose any filter I want and it's going
to update in all three.
| | 03:45 |
So aside from this vertical limitation
which is partly because I'm recording
| | 03:49 |
these lessons at a relatively low
resolution to make it accessible for
| | 03:52 |
everybody and different mediums.
Apart from this, you do have access to
| | 03:57 |
the same controls inside the mixer as you
have on the track.
| | 04:02 |
It really is the same as the ones you're
already familiar with, you can even
| | 04:05 |
change the track label color if you want,
and it just updates.
| | 04:09 |
So its replication of the controls with
this all important Fader, for you to make
| | 04:15 |
subtle adjustments over time using the
mixer.
| | 04:18 |
And there really is no right or wrong
here in terms of how you interact with Audition.
| | 04:23 |
It totally comes down to how you prefer
to work with it.
| | 04:25 |
And in my practice, in my experience, I
often find it just depends on which panel
| | 04:29 |
I happen to have open at the time.
But, if you have got your level right in
| | 04:34 |
relative terms for the audio clips inside
this Editor view, and you don't need to
| | 04:39 |
adjust the clips themselves.
If I just pull this back out, put it back
| | 04:43 |
into the Editor panel.
You see now I'm sharing the frame for
| | 04:47 |
these two panels.
Maybe, it is a little bit easier for me
| | 04:50 |
to make adjustments to the mix in this
view.
| | 04:53 |
So, it's just a question also of where
you are in the process of building your
| | 04:58 |
Multitrack session.
So that's an introduction to the Mixer
| | 05:02 |
Panel in Adobe Audition.
| | 05:03 |
| | Collapse this transcript |
| The multitrack tools| 00:00 |
Audition has some specific tools for use
when you're working in a Multi-track session.
| | 00:05 |
You'll notice that at the top of the
screen here, I've got some greyed out.
| | 00:09 |
These will relate to the Waveform editor,
and on the left I've got these tools available.
| | 00:15 |
These are pretty simple to work out.
The first one, the Move tool, is for
| | 00:20 |
moving things around, and you'll notice
that when I have this tool selected, I
| | 00:24 |
can move clips by clicking on any part of
them.
| | 00:28 |
Also, next to it, I've got the option to
add a Cut, add an Edit.
| | 00:32 |
So if I just scroll with my mouse here to
Zoom in, you see there is a bit of
| | 00:35 |
silence between the two parts of this
audio.
| | 00:38 |
I can see that in the Waveform.
Actually looking closely it does look
| | 00:42 |
like there is a bit of audio there.
But still, I'm going to click, and I've
| | 00:45 |
added an Edit and if I scroll back out
with my mouse, I'm just hovering over the
| | 00:50 |
Time Ruler bar here.
Go back to my Movement tool, you'll see I
| | 00:54 |
can now separate these two parts.
You'll notice as well, if I hold down,
| | 00:58 |
let me go back to that tool, if I hold
down the Shift key, I'm just hovering
| | 01:03 |
over the Waveform, look very, very
closely, you can see the razor blade.
| | 01:06 |
If I hold down the Shift key, you'll
notice that I've now got two razor
| | 01:11 |
blades, a double razor blade.
If I click now, you'll see that this keys
| | 01:15 |
01 clip has been cut as well as keys 02.
Now you can do that with the Shift key on
| | 01:19 |
your keyboard.
You can also do it by clicking and
| | 01:22 |
holding on this button and choosing the
Second Razor All Clips tool.
| | 01:27 |
Next to this, I've got a Slip tool and
this actually is familiar to me from
| | 01:32 |
working with non-linear editing systems.
The Slip tool allows you to access a
| | 01:37 |
different part of the clip.
Now, in this example, let me demonstrate
| | 01:41 |
this visually.
I've got here Simply Falling or Guitar 03
| | 01:46 |
left clip.
We're just going to scroll down a bit in
| | 01:48 |
my session.
I'm going to pull the whole thing in so,
| | 01:50 |
you can see it.
Just zoom out a little bit.
| | 01:54 |
Okay.
So, let me go to my regular Move tool.
| | 01:57 |
Notice that here, this is the entire
original audio and it's got lots of
| | 02:01 |
different parts.
This is the same clip but I've just
| | 02:04 |
selected one piece of it.
In fact, if you look, it lines up pretty
| | 02:07 |
well here because that's the part of the
original audio.
| | 02:10 |
Now I've trimmed this, I've reduced the
part that's in the multi-track session.
| | 02:14 |
If I just click here on these triangles
on the end.
| | 02:16 |
These only appear when you have the clip
selected, notice these ones don't because
| | 02:21 |
they're not selected.
Now it does, now it does, now it does.
| | 02:24 |
With this clip selected, I can click and
drag the edges to adjust the part of that
| | 02:30 |
full length clip that I'm going to use in
my session.
| | 02:32 |
But now check this out.
If I go to the slip tool, and I click
| | 02:36 |
anywhere in the middle of the clip, not
along the top because the top's going to
| | 02:40 |
give me the option to move the clip.
But anywhere on the Waveform and not on
| | 02:43 |
these thin lines.
Not that blue line which allows me to
| | 02:46 |
adjust the pan.
Not on this yellow line which allows me
| | 02:50 |
to adjust the volume for the clip.
Just anywhere on the Waveform if you like.
| | 02:54 |
If I click and drag now, look what
happens to the waveform.
| | 02:58 |
I'm changing the part of the clip that
I'm using in this little mini section.
| | 03:04 |
So if you've got a piece of audio, for
example, let's say it's a voiceover or
| | 03:09 |
even a vocal, and maybe your vocalist has
produced multiple takes, multiple
| | 03:13 |
recordings of the same little musical
motif.
| | 03:16 |
You could just click and drag to adjust
the timing of that or to adjust the
| | 03:21 |
particular take that you're going to use.
So this is the Slip Tool.
| | 03:24 |
Remember, this is the full original
length item.
| | 03:27 |
This is the part of that item that I've
chosen.
| | 03:31 |
Obviously, this is only possible because
the original has more content in it than
| | 03:36 |
the part that I'm using.
So, that's the four tools that you have
| | 03:39 |
the use of inside the Multi-track Editor
in Adobe Audition.
| | 03:44 |
| | Collapse this transcript |
|
|
9. Standard Multitrack ControlsManaging track routing and buses| 00:00 |
The audio in your original files is
going to take a journey through Audition.
| | 00:05 |
One part of that journey is the
interpretation of the clip level itself
| | 00:09 |
within the multitrack editor view.
Another part is the track will have a
| | 00:16 |
volume control, or an amplitude control.
And that could adjust the overall level.
| | 00:21 |
Next up, the audio is either going to go
straight to your master output, which if
| | 00:25 |
I scroll down, it's right down at the
bottom of the list here.
| | 00:27 |
And then, out to either a file or through
your audio hardware to some other kind of recorder.
| | 00:33 |
Or perhaps it's first of all going to go
through a bus which is another track or
| | 00:39 |
another channel into which audio from
other tracks arrives.
| | 00:43 |
I'm going to give you a simple example of
this, but there's a couple of different
| | 00:47 |
ways of looking at this concept of
routing your audio.
| | 00:50 |
Just think of it as a river taking a
route through the countryside.
| | 00:54 |
First of all, we've got the physical
route in and out of your machine.
| | 00:58 |
And if we look here, at our inputs and
outputs on our tracks.
| | 01:03 |
And here, I've got a track header.
And let me just, I'm going to press
| | 01:06 |
Shift+Ctrl or Cmd on a Mac and S for
save.
| | 01:10 |
This is going to let me Save As.
And I'm going to save this session as complete.
| | 01:14 |
So, you've got a before and an after for
comparison.
| | 01:17 |
If we look here in the inputs and output
control, I've got the input for this
| | 01:22 |
track number one is the default stereo
input.
| | 01:26 |
There it is, the Default.
And this is configured in the Preferences
| | 01:29 |
for Adobe Audition.
And you can see, it's my hardware that's
| | 01:33 |
given me an input from whatever my mic
input is.
| | 01:36 |
If you are recording audio from multiple
microphones, it's possible that either
| | 01:40 |
through the configuration of the hardware
or just because of the position of the microphone.
| | 01:44 |
The audio recording could be out of
phase.
| | 01:46 |
And that means that as that wav of
amplitude is traveling through the air
| | 01:51 |
from one microphone it's up, its high
amplitude, a high pressure, and from the
| | 01:56 |
other microphone it's low.
And the two cancel each other out, and
| | 01:59 |
you can get dead spots in your audio.If
you have that problem, this button right
| | 02:03 |
here will reverse the polarity.
It'll switch the phase for the input from
| | 02:08 |
your external microphones.
Just under this input option, which is
| | 02:12 |
really only relevant if you're using
audition as a disc recorder.
| | 02:16 |
We've got the output for the track.
Now, I've got the output at the moment
| | 02:19 |
set to master, which makes perfect sense.
And that's the default and for most of
| | 02:23 |
the work you're going to do with Audition
is probably how you're going to have the
| | 02:26 |
track configured.
If I want to I can set Audition to output
| | 02:30 |
directly to one of the physical
connections on my audio hardware.
| | 02:35 |
But I've also got this option to create a
bus.
| | 02:37 |
I can add a bus which is an additional
track through which the audio can travel.
| | 02:41 |
And I'll give you just one example of how
this can be used.
| | 02:44 |
Of course, you can also use it for
Effects.
| | 02:46 |
And before I go on, what I'm showing you
here is the overall output for the track
| | 02:50 |
which is just the one main output for
everything on the track.
| | 02:53 |
If I click on the third button at the top
here.
| | 02:56 |
I get the option to add up to 16 sends,
now I'm just going to scroll down here.
| | 03:00 |
You see how that says S1?
As I scroll down, S2, 3, 4, 5, blah,
| | 03:04 |
blah, blah, up to S16.
Each of these is an additional output for
| | 03:09 |
the track.
So, if you think about it, if I had ten
| | 03:11 |
tracks in my multitrack session, if I
wanted to, I could have each track output
| | 03:16 |
to 16 other possible tracks or 16 other
buses, as they're called.
| | 03:22 |
Sometimes called sub mixes.
So, that's a 160 outputs altogether from
| | 03:26 |
a 10-track session plus, of course, the
master output which is here, under my
| | 03:31 |
inputs and outputs section.
So, that's 170 outputs from just ten tracks.
| | 03:38 |
You're not likely to need that much
complexity in your session, but the
| | 03:41 |
flexibility is there if you want it.
Now, just to demonstrate this very
| | 03:44 |
briefly, I'm going to solo these first
two tracks which are the vocals from this
| | 03:49 |
piece of music.
And under this first track one, I'm
| | 03:52 |
going to set the output for this track,
not to go to the master, but instead I'm
| | 03:57 |
going to choose Bus > Add Bus and I'm
going to make a Stereo bus.
| | 04:01 |
There we go.
You see it pops up directly underneath.
| | 04:04 |
I'm just going to resize a little with my
mouse.
| | 04:06 |
I've now got a bus B.
Now, I actually want this to be
| | 04:09 |
underneath track 2, because track 2 has
my vocals.
| | 04:11 |
So, I'm going to click and drag this
down, and you can see I've now moved the
| | 04:15 |
entire track, or in this case, the entire
bus, down.
| | 04:18 |
I'm just going to rename this, I've
clicked on the name, I'm going to call
| | 04:21 |
this vocals.
Notice all three of these have their solo
| | 04:24 |
button on.
So, I'm hearing the output from them.
| | 04:26 |
I'm going to expand my track two, I'm
going to set that to output.
| | 04:30 |
Also, to that vocals bus notice that
appears on the list now that it exists.
| | 04:34 |
Coincidentally, you can create new buses
on the Multitrack menu as well.
| | 04:38 |
On the track, you see I've got the option
to add additional tracks to my session,
| | 04:42 |
or to add busses.
I can even add a video track for mixing
| | 04:46 |
to picture.
And notice that my vocals bus is in fact
| | 04:50 |
outputting to the master.
So, I'm routing the audio for these two tracks.
| | 04:55 |
Ultimately, to the master output for my
session, but via this vocals bus which
| | 05:00 |
you'll notice allows me to add effects to
it, or EQ, or any of these adjustments
| | 05:06 |
that I would make to a regular track.
And I'm just going to go up because I've
| | 05:09 |
already made an adjustment to the audio
level in track 1.
| | 05:11 |
I'm going to set this to 0.
So, both track 1 and track 2 are
| | 05:14 |
outputting at full amplitude or whatever
the audio is on that track.
| | 05:18 |
You can see from the waveform, it's not
fully attenuated.
| | 05:20 |
And let's just scroll with the mouse to
shrink these down a little bit.
| | 05:23 |
And I'm going to click and drag to pull
the vocals amplitude down, and I'm going
| | 05:29 |
to press play.
So, I'm going to click Play, and let's
| | 05:32 |
just watch the level.
You see the level there for the tracks is
| | 05:34 |
up, but i'm not getting anything on
output.
| | 05:37 |
And as a I click and drag and increase
this vocals amplitude, (MUSIC) the level
| | 05:43 |
comes up.
Let's just stop that so you can hear me a
| | 05:46 |
bit more clearly.
So, what's happening here, is I'm
| | 05:48 |
reducing the number of clicks for me
adjust the level for these two tracks.
| | 05:53 |
By half, I'm reducing it by 50% by
routing them through this vocals bus.
| | 05:57 |
Hopefully, you can begin to see the
benefit of this, imagine if I had 15
| | 06:02 |
pieces of audio that were all microphones
of people on a sound stage.
| | 06:06 |
You know, Studio environment where
there's supposed to sound like they're in
| | 06:08 |
a cave, I could route them all through
one bus which represents the scene.
| | 06:12 |
And I could apply a Reverb effect and
adjust the overall level for the
| | 06:18 |
microphones in that location.
I might have multiple instruments, maybe
| | 06:22 |
multiple string instruments from a string
section in an orchestra.
| | 06:26 |
I could route all the strings through
just one bus.
| | 06:28 |
And again, manage the audio level, apply
limiting compression, whatever I want to
| | 06:33 |
do within one environment.
Just think how much less clicking is
| | 06:37 |
involved if I use this feature.
Again, right now I'm working with a
| | 06:41 |
direct outputs from each of these tracks.
If I go to my sense, I'll just zoom a
| | 06:46 |
little bit.
You see, I'm not actually using these
| | 06:48 |
additional outputs from the tracks.
I can if I want to.
| | 06:52 |
I can click and add a bus and operate
those sends independently.
| | 06:56 |
But right now, I'm working with the
routine just for the overall output for
| | 07:00 |
my tracks.
So, that's an introduction to routing
| | 07:03 |
with Adobe Audition.
| | 07:04 |
| | Collapse this transcript |
| Adjusting clip level and pan with envelopes| 00:00 |
Once you've placed some audio inside your
multi track session, of course one of the
| | 00:05 |
things you're likely to need to do is
change the volume, change the amplitude
| | 00:09 |
of those clips.
There are quite a few ways of doing this
| | 00:12 |
in audition, and it's worth noting that
in the multi track view the changes that
| | 00:17 |
you make are non destructive.
They're not going to change the original
| | 00:20 |
file, which they will do if you're
working In the Waveform view.
| | 00:25 |
First of all, if I just click here and
zoom in a little bit.
| | 00:28 |
And I just want to focus on this guitar
clip for a moment.
| | 00:31 |
Remember the track header controls are
for the track itself, not for the clips
| | 00:35 |
on the track.
Though the two combine to give you the
| | 00:39 |
net amplitude for any audio that's there.
If I want to, I can double-click on any
| | 00:44 |
clip inside the multitrack editor.
And it's going to open up in the waveform view.
| | 00:49 |
See here, I'm in the waveform view now.
And in this view of course, I can make
| | 00:53 |
destructive changes to the audio.
I can use the Heads Up Display for example.
| | 00:57 |
Drop the size of the waveform, you see
the updates, I've got little asterisk
| | 01:01 |
next to the file name to tell me that
changes have been made and I haven't saved.
| | 01:05 |
And then I can go back to the Multitrack
editor and you can see that has updated.
| | 01:10 |
I'll just go back to my waveform and
Ctrl+Z or Cmd+Z to undo that change.
| | 01:15 |
Now, if I have a clip selected in the
Multitrack session.
| | 01:19 |
I've got access to its volume and pan
controls, so you notice that it's pretty
| | 01:23 |
subtle but just up now I've got a little
tool tip that says Volume.
| | 01:29 |
And just now I've got a tool tip that
says Pan.
| | 01:32 |
If I don't use any modifier keys and I
click and drag this line you'll see I get
| | 01:36 |
a little DB indicator and I can drop the
level.
| | 01:40 |
Release the mouse and this is a
nondestructive adjustment to the
| | 01:43 |
amplitude of the clip.
If I solo this track so you can hear it
| | 01:47 |
and hit play.
(MUSIC) And then, maybe if I drag this up.
| | 01:54 |
(MUSIC) And down.
Just press the spacebar to stop again,
| | 01:58 |
you can see very clearly that I'm making
this adjustment during playback and you
| | 02:02 |
can hear the results of it live.
So, you can just leave your playhead
| | 02:07 |
going and if you want to you could make a
selection.
| | 02:10 |
Let me just pull up my time selection
tool and you could loop play, hit the
| | 02:14 |
play button and just loop through a
section of your audio, making changes to
| | 02:18 |
it as you go.
Just to have a listen as you make those adjustments.
| | 02:24 |
There is goes looping back to the
beginning of my selection.
| | 02:27 |
Just stop that, turn off looping,
deselect.
| | 02:30 |
If you hold down the control or command
key while making these adjustments,
| | 02:34 |
remember I've got volume control and pan
control here.
| | 02:37 |
I have pan control because this is a
stereo multi track session.
| | 02:40 |
So I have a left and a right output.
If I hold down the control key I get a
| | 02:45 |
slightly different icon.
I get this flat line but it doesn't seem
| | 02:49 |
to make any difference when I'm working
with the line as it sits at the moment
| | 02:54 |
and the reason is because I don't have a
shape for this yet.
| | 02:57 |
So let me show you what I mean.
I'm just going to just move this up a
| | 03:01 |
tiny bit.
I'm going to click and release, click and
| | 03:04 |
release, click and release.
And when you do so, you get little
| | 03:07 |
control points on this band.
Now that I have these control points, I
| | 03:12 |
can click and drag down, and now I've got
a shape for my audio.
| | 03:17 |
Now, this line is referred to as an
envelope.
| | 03:21 |
The envelope is controlling the
interpretation of the audio level over time.
| | 03:25 |
Sometimes you hear this referred to as
row banding, particularly with things
| | 03:28 |
like normally in an editing systems.
But now if I press Play, well, you hear
| | 03:34 |
the difference (MUSIC) (MUSIC) There's
quite a, I just stop that.
| | 03:43 |
That gets louder again.
So you can see where in time the
| | 03:46 |
amplitude is going to change.
And this is where the Control key becomes useful.
| | 03:52 |
I'm just going to zoom in a little bit
using my mouse wheel on the track header.
| | 03:55 |
So you can see this a bit more clearly.
I'm now going to click on one of these
| | 03:58 |
control points, and you see I'm just
changing the control point.
| | 04:01 |
Now that I've added control points to
this line, to this envelope any other
| | 04:05 |
time I click on the line I'm just going
to add another control point.
| | 04:10 |
I can't raise and lower the overall
amplitude because I've begun the process
| | 04:14 |
if you like doing whats called key
framing.
| | 04:17 |
Adding a specific point in time with
specific values.
| | 04:20 |
You can see there plus forty b.
That's -16.1.
| | 04:23 |
So if I want to move the overall
amplitude up and down I can do so now
| | 04:26 |
with that control key.
If I hold the control key down while I
| | 04:31 |
click and drag you'll notice that that
whole section moves.
| | 04:36 |
I'm going to do it here on a control
point.
| | 04:38 |
Nothing.
It just changes it from selected to deselected.
| | 04:42 |
You see that?
It's selected, now I can select select select.
| | 04:47 |
And now if I click and drag, they're all
moving together.
| | 04:51 |
So, if I want to make flat level
adjustments over time, I can do so and
| | 04:55 |
now, you see, I'm holding down the Ctrl
or Cmnd key and getting this section.
| | 05:02 |
And now this one, and now this one, I'm
getting the join between two control points.
| | 05:07 |
So this is definitely something for you
to play with, explore it, you'll soon get
| | 05:10 |
used to making the adjustments you need,
and this is again refereed to as an envelope.
| | 05:15 |
Hover over the other line and your
adjusting pan left and right, it's
| | 05:18 |
exactly the same mechanism..
Click and click and click.
| | 05:22 |
And you can animate, over time, to
specify which speaker the audio comes from.
| | 05:26 |
Notice also, if I have a clip selected,
if I go to my Properties panel, one of
| | 05:29 |
the properties under the basic settings,
and you might need to expand this to see
| | 05:33 |
it, is a non-destructive gain control.
So if I want to, I can click and drag this.
| | 05:40 |
Notice that I get a little icon on the
clip segment to show that I've done it.
| | 05:43 |
And I'm adjusting the gain, which is
applied before any other adjustments in
| | 05:48 |
these envelopes.
In fact, if I right click on this clip
| | 05:51 |
segment, and I choose clip gain, it's
just going to take me to the properties panel.
| | 05:56 |
It takes me to the same control.
So that's working with clip level and pan
| | 06:00 |
in a multi track session in Adobe
audition.
| | 06:04 |
| | Collapse this transcript |
| Adjusting track level over time with envelopes| 00:00 |
Adobe Audition allows you to adjust the
audio level for a track, as well as the
| | 00:05 |
audio level for individual clip segments.
Let's take a look at how to do this.
| | 00:10 |
Here I've got a very simple multitrack
session with some keyboard sounds on
| | 00:16 |
track one.
And just to make it a bit easier to hear
| | 00:19 |
my while I'm speaking, I've adjusted the
Master Output Level down by about 18, 19db.
| | 00:25 |
Just so it's a little bit quieter.
Now, I have expanded the size of the
| | 00:30 |
track one.
So you can see some more of the controls.
| | 00:33 |
And you'll notice that regardless of
which view you have on.
| | 00:37 |
Here with these shortcut buttons I'm
always going to have this option at the
| | 00:42 |
bottom, that by default shows read, and
we've got a little expansion triangle
| | 00:46 |
next to this menu, which I'm going to
click and that's going to display the
| | 00:50 |
track envelope, which behaves in a very,
very similar way to the clip envelope.
| | 00:54 |
Here I've got the volume goal for this
individual clip, but now I've got one for
| | 00:58 |
the track.
The first menu on the list here gives us
| | 01:02 |
access to some track level automation.
We can use Write, Latch and Touch modes
| | 01:07 |
to adjust the audio over time using the
mixer.
| | 01:10 |
But just under that we've got a menu that
allows us to enable or disable specific
| | 01:15 |
options to be displayed.
Along this line so right now I've got
| | 01:19 |
this volume.
I can also turn on pan for example.
| | 01:22 |
So now just like my clips I've got access
to volume and pan envelopes as well.
| | 01:27 |
And now here I've got select, I can
choose to work with the pan or the
| | 01:33 |
volume, see it's very, very subtle but
it's highlighting one or the other.
| | 01:39 |
Notice that I can if I want to.
Click and add control points to these
| | 01:44 |
rubber bands regardless of the option I
have selected in this menu.
| | 01:48 |
But the menu exists so that I can use
these buttons.
| | 01:52 |
Let me just add another couple of control
points to my volume here.
| | 01:56 |
This is a next and previous Keyframe
control.
| | 02:01 |
So, these control points are classically
referred to as Keyframes.
| | 02:04 |
And a Keyframe is just any moment in time
where specific settings are applied.
| | 02:09 |
And the system will interpolate, it will
work out the differences between those to
| | 02:13 |
give you a smooth grading adjustment.
So here now I'm working with volume.
| | 02:17 |
If I go to pan I can click back.
And this button in the middle between the
| | 02:22 |
previous and next buttons is an add or
remove key frame button.
| | 02:26 |
So if I click the key frame is added.
And if I go to another key frame, I can
| | 02:30 |
click again and remove one.
Just to the left of these three buttons,
| | 02:35 |
I've got Clear All Keyframes.
Again this is based on the select menus
| | 02:39 |
so I'm going to clear all the pan
keyframes, switch to my volume, and I can
| | 02:42 |
clear all the volume ones.
Now if I just Undo for a second you'll
| | 02:46 |
notice that I've also got this button on
the end with a rather long description.
| | 02:50 |
Protect the parameter from being written
to when recording automation.
| | 02:53 |
Again this is a workflow when using the
audio mixer to hit play and adjust the
| | 02:58 |
settings over time.
And you might want to just make sure that
| | 03:01 |
certain adjustments you've made manually
are not going to accidentally be changed
| | 03:06 |
when your going through that process.
It's quite easy to accidentally click on
| | 03:09 |
the wrong thing and then before you know
it, you've added unwanted key frames.
| | 03:12 |
So by turning on this option, you can
just avoid that happening.
| | 03:16 |
I can still make adjustments manually.
This is really just for using the
| | 03:19 |
automation work flow.
The controls for setting up track level
| | 03:23 |
envelopes are exactly the same as those
for a clip.
| | 03:27 |
I can click in between two points, and
add another point.
| | 03:31 |
You see that its just jumping to update.
Now that I've added points I can hold
| | 03:35 |
down the control or command key and move
them together and I can also just select
| | 03:40 |
a whole load of these things here.
If I want to, I can hold down the Control
| | 03:46 |
or Command Key and select a range of
these.
| | 03:49 |
And then deselect the Control or Command
Key so that I can move them all on mass.
| | 03:54 |
And the results should be pretty obvious
if I just hit playback here.
| | 03:58 |
(MUSIC) If I just use the L key to speed
up a bit, (MUSIC) and you can hear that
| | 04:10 |
fading away.
I'll just press the K key there to pause.
| | 04:15 |
Great thing about setting up your
envelopes at the track level rather than
| | 04:20 |
at the clip level.
As you can then move the clips around
| | 04:23 |
wherever you want, or replace them with a
different piece of audio.
| | 04:26 |
And you'll get the same adjustment to the
audio level over time.
| | 04:31 |
This is particularly useful if you're
producing an audio composition for a
| | 04:35 |
television program or a film.
Where the points in time that you're
| | 04:38 |
producing your audio are fixed.
If you're working on something where that
| | 04:42 |
can change.
Of course you've got a problem because if
| | 04:44 |
I do need to move my audio, my automation
isn't going to go with it.
| | 04:48 |
So, you need to be a little bit careful
about the right time and place for using
| | 04:53 |
these track based envelopes.
So, that's working with track level over
| | 04:57 |
time with Adobe Audition.
| | 05:00 |
| | Collapse this transcript |
| Matching audio level between multiple clips| 00:00 |
If you're working with multiple clips in
a multitrack session that have varying
| | 00:05 |
audio levels and you want them to be
matched.
| | 00:08 |
There's a very, very easy way to do that
in Adobe Audition.
| | 00:11 |
You could, of course, go into each
individual clip and click to adjust the volume.
| | 00:16 |
Or just undo that.
Or you could go into the properties and
| | 00:19 |
specify different gain levels.
But, Audition includes automation for
| | 00:23 |
analyzing the audio level of your
original media and then applying exactly
| | 00:28 |
the right adjustment that's needed.
For them to match.
| | 00:30 |
In effect, on playback.
So I"m just going to take these three
| | 00:35 |
pieces of audio at the end here of my
session.
| | 00:38 |
And let me just drag down.
I'm clicking and dragging.
| | 00:41 |
In fact, let's go to all of these.
I've got one, two, three, four, five clips.
| | 00:44 |
I'll just scroll up to zoom in a little.
So.
| | 00:47 |
You can see what's going on.
Now because I've lassoed across these,
| | 00:51 |
I've got a time selection as well as a
segment selection.
| | 00:54 |
The important thing is for segment
selection.
| | 00:57 |
And you can see that there, a little bit
more vivid color if I scroll down,
| | 01:00 |
compared to the clips that are not
selected.
| | 01:03 |
So now I'm going to right click on any of
these.
| | 01:06 |
And I'm going to choose Match Clip
Volume.
| | 01:08 |
And I get a very simple dialogue box.
In this dialogue box, I can specify the
| | 01:13 |
audio system I want to use.
Now, there are quite a few options
| | 01:17 |
available, the ITU-R system, the new
loudness scale is a new broadcast
| | 01:22 |
standard that is being rolled out
internationally and it's being used for
| | 01:26 |
broadcast television so, if you're
working to that standard.
| | 01:29 |
This is the one you're going to want to
choose, and it uses LUFS rather than
| | 01:32 |
decibels as the measurement of amplitude.
Some common alternative choices here,
| | 01:38 |
options like perceived loudness which
focuses on the middle frequencies which
| | 01:44 |
your ear is most sensitive to.
Or an alternative is something like peak amplitude.
| | 01:50 |
And this just takes the highest peak, the
loudest part of your audio and bases the
| | 01:54 |
target volume on that.
So it maintains the relative audio levels
| | 01:59 |
throughout your clip.
So check these out, there's a few
| | 02:02 |
different options.
I'm going to go for the loudness scale as
| | 02:06 |
an example and I'm going to make this
really obvious so I'm going to set this
| | 02:09 |
to a target volume of minus three LUFS
and if I click okay, a little bit of
| | 02:15 |
updating, and if I now just select one of
these here you can see under the
| | 02:21 |
properties panel.
This one set to plus 13 db.
| | 02:26 |
This is plus 15.
Plus 12.8.
| | 02:28 |
Plus 12.7.
So these adjustments have been made for
| | 02:30 |
me automatically.
If I select this again, right click,
| | 02:34 |
match clip volume.
Set this to, let's make it really
| | 02:37 |
obvious, minus 20.
Okay a little bit of thinking.
| | 02:40 |
And then now you can see this is minus
4.3, 1 is 4.2, and so on.
| | 02:45 |
So the point of this is that I could
achieve a similar result by manually
| | 02:50 |
going in and making adjustments.
But I can get the match volume option to
| | 02:54 |
do it for me automatically.
This is a form of classically normalization.
| | 02:58 |
Which is where you take the peak level.
But we've got a few more advanced options
| | 03:01 |
in this menu.
So you have more flexibility in the way
| | 03:05 |
you want to approach these changes.
Note as well that when you use this
| | 03:09 |
option it is the clip gain that is
adjusted.
| | 03:12 |
This is inside the Properties panel under
the basic settings, you might need to
| | 03:15 |
expand this, and when an adjustment is
made to the clip gain it will appear as
| | 03:20 |
numbers with a little icon...
Over the clip segment.
| | 03:23 |
If I just scroll down, you can see
there's no icon on this clip.
| | 03:26 |
Just so you know that an adjustment has
been made.
| | 03:29 |
So that's adjusting the volume for
multiple clips at the same time in a
| | 03:34 |
multi track editor of Adobe Audition.
| | 03:36 |
| | Collapse this transcript |
| Analyzing level with the Loudness Radar Meter| 00:00 |
If you're producing audio for broadcast
television, or for a film, or for any
| | 00:05 |
situation where you really have to have a
deep understanding of the audio level
| | 00:10 |
over time.
There's an additional special effect in
| | 00:14 |
Adobe Audition for just that purpose.
I've got a clip here with some vocals
| | 00:19 |
I'll just play a little bit, so you know
what we're working with (MUSIC).
| | 00:27 |
(MUSIC) So this is just the vocal track
from a music composition and I've got
| | 00:33 |
this track selected.
I'm going to click on the head and notice
| | 00:35 |
it's just slightly darker grey when I
have it selected.
| | 00:38 |
I'm going to go to the Effects menu, I'm
going to choose Loudness Radar Meter.
| | 00:42 |
Now this is the TC Electronic Loudness
Radar and the purpose is to measure
| | 00:48 |
loudness rather than just amplitude.
Loudness is measuring the real terms
| | 00:53 |
audio level of a piece of audio, it's
ignoring the peaks and the troughs that
| | 00:58 |
it's working out.
Rather than based on extremes, it's
| | 01:01 |
working out on the true amplitude of the
audio.
| | 01:04 |
This is particularly relevant, for
example, if you're producing commercials where.
| | 01:07 |
You want the main bulk of the audio to be
as loud as possible to catch the
| | 01:10 |
attention of the viewer and the peaks and
troughs are perhaps less important.
| | 01:15 |
This loudness radar is set up to measure
the overall amplitude, the loudness of
| | 01:21 |
your audio over time, and to give you a
nice easy graph to identify what's going
| | 01:25 |
on with it.
It's actually pretty simple to use.
| | 01:28 |
First of all, you want to go to your
Settings, and specify all of the options
| | 01:31 |
to do with the Target Loudness that
you're going for.
| | 01:34 |
This is an LKFS.
This is an alternative to the LUFFS scale
| | 01:38 |
that we saw earlier.
And you've got different options to do
| | 01:42 |
with how fast the radar is going to move.
The resolution, and so on and so on.
| | 01:45 |
If I go back to the radar, up under my
presets I've got some standards.
| | 01:49 |
I've got the EBU 128 Loudness Unit or the
Loudness Units Relative to Full Scale
| | 01:55 |
option these are standard broadcast
options.
| | 01:57 |
And if I chose EBU 128 for example, I can
now press play and as I play very quickly
| | 02:04 |
you're going to see what's going on.
(MUSIC) If I adjust the level for my
| | 02:07 |
audio, let's pull this down.
You can see the results on this scale.
| | 02:14 |
What I'm getting is this radar effect as
we travel through the audio, showing me
| | 02:19 |
over time, where the parts of my audio
are a problem and where they're not.
| | 02:23 |
If I just pull this up briefly you can
see there's a peak as well.
| | 02:26 |
(MUSIC) There we go, so you can see the
little peak indicator comes on.
| | 02:32 |
Lets pull this up again.
(MUSIC) There we are and at the end of
| | 02:37 |
this if I press the space bar to stop the
playback, I still have this graph
| | 02:42 |
displaying the audio over time.
Have a loudness range over the bottom-left.
| | 02:47 |
Have the overall program loudness at the
bottom-right.
| | 02:50 |
And, in a nutshell, this is the tool you
need to use if you're producing a mix for
| | 02:54 |
broadcast television.
I can pause the metering, if I like.
| | 02:58 |
So if I play a little bit (MUSIC).
I can pause the recording of it.
| | 03:03 |
(MUSIC).
Go back to playback again.
| | 03:07 |
(MUSIC) And you can see it's continuing
to measure so it's pretty basic controls
| | 03:12 |
once you get into it.
But the configuration can be complex.
| | 03:15 |
Unless you're going to use one of the
presets, you need to do a little bit of
| | 03:19 |
research and make sure you're familiar
with each of the options in those settings.
| | 03:23 |
Just stop that.
Notice as well the top-right of this panel.
| | 03:29 |
I've got my Channel Mark Editor where i
can specify which channels from my audio
| | 03:34 |
are being used.
And the top right of all of the effects
| | 03:37 |
you're going to see this little eye
button.
| | 03:39 |
Which will take you directly to the Adobe
help for this effect.
| | 03:42 |
So if you're not familiar with any of the
options within any of the effects in
| | 03:46 |
Adobe Audition, just click this button,
and you're going to find really easy to
| | 03:50 |
understand instructions.
Now, one thing to note is, this is a
| | 03:53 |
special effect, and I've added it to my
track, because that's what I had selected.
| | 03:58 |
Here in my Effects rack, under Track
Effects I've got the Loudness Radar.
| | 04:02 |
Which means I'm only measuring the level
for this one track, not for the entire
| | 04:08 |
multi-track session.
If I want to conduct this analysis for
| | 04:11 |
the whole multi-track, it's very easy.
I'm just going to select this and hit the
| | 04:14 |
Delete key, get rid of it.
If I scroll down to the bottom of my
| | 04:18 |
multi-track session, here's my master
track, which is the overall level.
| | 04:22 |
From my entire session go to Effects >
Special > Loudness Radar Meter and now
| | 04:29 |
I'm monitoring the level for the entire
session.
| | 04:32 |
Again, this is going to give me exactly
the same level as before because I've
| | 04:35 |
(MUSIC) only got one piece of audio in
the session.
| | 04:37 |
But you get the idea, this is where you
need to put the effect if you're going to
| | 04:41 |
monitor the level for your whole session.
Coincidentally, if I scroll up here and
| | 04:47 |
double-click on this clip to take it into
the Waveform Editor.
| | 04:51 |
I still have access to the Loudness Radar
Meter and I have it under the Effects rack.
| | 04:57 |
It really is treated exactly like any
other kind of effect.
| | 05:00 |
So whatever way works best for you, if
you want to use this feature.
| | 05:05 |
Just access it in any part of the
interface.
| | 05:07 |
So that's working with a Loudness Radar
Meter to assess loudness in Adobe Audition.
| | 05:13 |
| | Collapse this transcript |
| Grouping clips| 00:00 |
If you're working with a relatively
complex multi-track session in Audition,
| | 00:05 |
you may decide it's helpful to group
clips together so they move en masse
| | 00:10 |
within your multi-track.
So, here for example, I've got a series
| | 00:14 |
of clips and let's just say I decide that
it's going to be helpful to just always
| | 00:18 |
keep them together.
They're a combined set of layers of sound
| | 00:22 |
that just makes a piece of my music.
I'm going to click and drag to lasso
| | 00:26 |
across these, important thing to note is
that I'm selecting these as well as
| | 00:30 |
making a time selection.
I'm going to right click on any of them.
| | 00:34 |
And under Groups, I'm going to choose
Group Clips.
| | 00:37 |
Now, I just want to draw your attention
to a couple of the other options on this menu.
| | 00:42 |
First of all, we've got Group Clips and
Ungroup Selected Clips.
| | 00:46 |
That's pretty straight forward.
We also have Suspend Groups which is a
| | 00:50 |
way of temporarily allowing you to change
the relative positions of those clips,
| | 00:55 |
and also to remove specific clips from
the group.
| | 00:58 |
So let's run through these options.
First of all, I'm going to group the
| | 01:01 |
clips, they've taken on a color based on
the labels in my preferences.
| | 01:05 |
And now, I'm going to click and drag and
move them.
| | 01:08 |
And you see they all just move together
as one group.
| | 01:11 |
Notice that while clips are grouped, if I
just zoom a little bit so I've got my
| | 01:15 |
handles, as they're called, these little
triangles at the ends of the clips.
| | 01:19 |
Notice if I click and drag.
The clips that have their ends lined up
| | 01:23 |
all move together, but the ones that are
not lined up don't.
| | 01:27 |
Until, the line comes back and back and
back and now they start moving together.
| | 01:32 |
And you see now they're joined, because
the line has crossed.
| | 01:35 |
And if I keep going and keep going, now
I've taken that last clip at the top.
| | 01:39 |
So, notice also that I'm extending that
clip at the top beyond its original duration.
| | 01:45 |
Up to the original maximum duration of
the clip that I'm trimming.
| | 01:49 |
So I've added some silence on the end of
this clip.
| | 01:52 |
Notice that now these are all locked
together and they all move as one.
| | 01:56 |
And I'll just undo this for a second to
go back to the way we were.
| | 02:00 |
In fact, how many undos do I need to go
to?
| | 02:03 |
Well, I'm just going to resize this
panel.
| | 02:05 |
My history panel.
And take a look at the bottom of the list.
| | 02:09 |
Trim, trim, move.
Here we go.
| | 02:11 |
I want to go back to group.
So this is the point at which the clips
| | 02:14 |
were originally grouped.
And you can see I've got 36 levels of
| | 02:18 |
undo here available in my history panel.
And let's say I decide that the sync is
| | 02:23 |
out for one of these pieces of audio.
Well, I can, if I want to, right click,
| | 02:28 |
Groups > Suspend Groups, Shift+Ctrl+G, or
Cmd+Shift+G if you're on a Mac.
| | 02:37 |
And now I can deselect and I can move
individual parts of this wherever I want.
| | 02:43 |
Now, this is kind of moving on its own
and it's not snapping to the edge of the
| | 02:47 |
clip because I've got snapping turned off
at the top of the editor.
| | 02:51 |
So I'm going to turn that on.
And now as I drag this it's going to snap
| | 02:55 |
perfectly into position for me so the
strings are still in sync.
| | 02:59 |
My left and right strings that is and the
rest of my audio remains where it is.
| | 03:02 |
If I now right click again, go back to
Groups, turn off Suspend Groups, deselect
| | 03:10 |
and now they're back to being connected.
Now let's say I realize that these
| | 03:14 |
strings bits of audio are really nothing
to do with the rest of the group and I
| | 03:18 |
want to remove them from the group.
Well, I can right click on that clip.
| | 03:23 |
I can choose Groups > Remove Focus Clip
from Group and the same thing here for
| | 03:29 |
this one.
There we go.
| | 03:31 |
So now these are independent.
They're not connected to the group, but
| | 03:35 |
the group remains.
So this is how to add and adapt and
| | 03:39 |
change and modify, but also to
temporarily suspend groups in Adobe Audition.
| | 03:46 |
| | Collapse this transcript |
| Stretching time| 00:00 |
Changing the playback speed of clips in a
multitrack session in Audition is called stretching.
| | 00:06 |
I've got a couple of clips set up here,
one just some vocals and the other is
| | 00:10 |
some drums, and I've dropped the master
volume a little bit.
| | 00:13 |
So, it's not too overwhelmingly loud, and
if I play this back you can hear they're
| | 00:18 |
perfectly synchronized at the moment.
(MUSIC).
| | 00:19 |
If I want to change the playback speed, I
can do this for an individual clip by
| | 00:27 |
selecting it and going to the Properties
panel.
| | 00:29 |
And then, just scrolling down and
choosing the Stretch category, I'm just
| | 00:33 |
expanding it here, I've got all the
options.
| | 00:36 |
Or.
if I want to I can do it for Multiple
| | 00:39 |
Clips and that's what I want to do on
this occasion.
| | 00:41 |
I'm going to select both of these.
And now, my Properties panel is showing
| | 00:45 |
me Multiple Clips.
So, within my stretch settings I can
| | 00:49 |
choose between a Realtime mode or a
Rendered High Quality one.
| | 00:52 |
Some of the advanced options are not
available unless you switch to the
| | 00:57 |
rendered High Quality Option, but let's
start with Realtime.
| | 01:00 |
And now, I can choose if I'm working with
Monophonic, Polyphonic, or Varispeed content.
| | 01:06 |
Audition will process Monophonic audio
faster than Polyphonic.
| | 01:11 |
And then, we might as well go for
Polyphonic here just to get the result.
| | 01:15 |
Now, that I've set this, I've got a
couple of options to define whether I'm
| | 01:20 |
going to adjust the duration or to
stretch it as a percentage.
| | 01:23 |
And separately, I've got pitch control.
Now, notice at the top of my multi-track
| | 01:28 |
session, I've got Global clip stretching
turned on.
| | 01:31 |
And because I have, I've got these white
triangles visible at the top and bottom
| | 01:36 |
of my clips.
In fact, if I deselect, you can see
| | 01:39 |
because I've also got my snapping turned
on.
| | 01:41 |
I could always just click and drag and
click and drag.
| | 01:45 |
And if I now go back, in fact let's
select both of these.
| | 01:48 |
You can see both of these on our set to
150% stretch, that's a pretty lucky
| | 01:53 |
percent adjustment.
The great thing about working with
| | 01:56 |
multiple clips in this way, if i just
deselect is, of course, everything stays
| | 02:00 |
in sync.
(MUSIC).
| | 02:01 |
Okay, it's not bad quality considering
this is a Realtime effect working with
| | 02:10 |
multiple voices.
I've kept the pitch the same, and it
| | 02:15 |
sounds okay.
Down to the bottom, I've got some
| | 02:18 |
controls to define how sensitive Audition
is to changes in the audio, and what
| | 02:23 |
duration to measure, what block size, if
you like, when it's conducting its analysis.
| | 02:28 |
I can also set this to a Rendered
version.
| | 02:31 |
You can see, it does take a little bit of
time.
| | 02:34 |
But now, I've got a precision factor, I
could use high, medium or low, and so on.
| | 02:37 |
And in fact, if I set this type to
Monophonic, which is what you're going to
| | 02:42 |
use when you're working with vocal media.
I've got this option to Preserve Formants.
| | 02:47 |
I suppose you could say this is a try
harder tick box, which means Audition's
| | 02:51 |
going to look out for adjustments to
pitch and timbre.
| | 02:54 |
It just maintains better realism when
you're working with vocals.
| | 02:58 |
Because we're particularly sensitive to
natural or unnatural vocals.
| | 03:02 |
So again, if I deselect, you'll notice
now I've made a stretch adjustment, I'm
| | 03:05 |
getting a little icon in the bottom left
hand corner in each of these clips that
| | 03:09 |
tells me that there's a time adjustment
and I'm now running at 150%.
| | 03:13 |
That means that it's 50% slower than it
was before, 50% longer.
| | 03:18 |
So again, if you want to adjust the
playback speed of any clips inside the
| | 03:23 |
multitrack session you're working on, you
actually do it under the Properties panel.
| | 03:27 |
Notice here, in my panel, I've got rather
too many tabs available.
| | 03:32 |
And because there isn't room to show all
of them, you see the word Properties is
| | 03:35 |
going off the edge of the frame there, I
get a little navigator at the top.
| | 03:39 |
If I click and drag this over.
I can navigate between multiple tabs that
| | 03:43 |
I have open.
So again, it's under the properties
| | 03:45 |
panel, if you want to make changes to the
stretch, to the playback speed of your
| | 03:49 |
clips, in a multitrack session in
audition.
| | 03:52 |
| | Collapse this transcript |
| Overlapping clips| 00:00 |
When working with a complex, multi-track
session, it's quite common to
| | 00:04 |
accidentally or intentionally overlap
clips.
| | 00:08 |
And there are a couple of different ways
of managing this, and I'd like to just
| | 00:11 |
take a moment to walk you through.
First of all, there's a couple of
| | 00:14 |
preferences to check out.
So here under my Preferences, Edit Preferences.
| | 00:18 |
This is the Audition Preferences menu on
MAC OS.
| | 00:21 |
Under the Multi-track Clips option, I've
got these two options, Automatically
| | 00:25 |
Crossfade Overlapping clips and Play
Overlapped portions of clips.
| | 00:29 |
So let's take a look at this with the
default option first of all.
| | 00:31 |
I'm going to solo this track and I'm
going to grab the strings and lay it over
| | 00:36 |
the top of the vocals.
And you'll notice that automatically,
| | 00:40 |
depending on where I drop this, Audition
is putting in a Crossfade between the
| | 00:44 |
two, and this means that if I hit Play
with the space bar.
| | 00:49 |
(MUSIC).
That's pretty slow isn't it.
| | 00:53 |
Let me move this a little bit closer so
you can hear it more clearly.
| | 01:00 |
(MUSIC).
So, you get the idea.
| | 01:03 |
A Crossfade is being put in
automatically.
| | 01:05 |
And in fact if I click on one or other
clip they come to the foreground and I
| | 01:10 |
can work on them independently.
So far so good.
| | 01:13 |
If I undo this, I'm just going to press
Ctrl or Cmd+Z a couple of times, and I'm
| | 01:17 |
going to go back to my Preferences >
Multi-Track clips.
| | 01:20 |
I'm going to turn off the Automatically
Crossfade Overlapping Clips option and
| | 01:25 |
I'm not going to turn on Play Overlapped
portions of clips.
| | 01:29 |
So I'll say OK, and I'll put the clip
back on top.
| | 01:32 |
Now you'll notice once again, I can
specify which clip is in the foreground
| | 01:36 |
by selecting it.
Look what happens when I press Play here.
| | 01:40 |
In fact, let me Zoom in a little bit, I'm
pressing the Plus key at the top of my
| | 01:43 |
keyboard, and just have a listen.
(MUSIC).
| | 01:48 |
You see there?
It cuts over to the strings.
| | 01:50 |
Now, if I just select the vocals.
And you can see it comes to the foreground.
| | 01:55 |
And I'll just trim back the end of this a
little so it's a bit faster.
| | 01:59 |
Now I'm going to press Play again.
(MUSIC).
| | 02:06 |
And then we're cutting to the strings.
So, the clip in the foreground is the one
| | 02:11 |
that is heard, unless we go back into our
Preferences, back into Multi-track clips,
| | 02:18 |
turn on Play Overlapped portions of
clips, click OK and now we get both.
| | 02:25 |
(MUSIC).
Now, personally, I would not work this way.
| | 02:27 |
I wouldn't have hidden parts of my media
that are still contributing to the mix.
| | 02:32 |
I'd want to keep the files on separate
tracks.
| | 02:35 |
Let me just Zoom Out a little bit here.
Just undo a couple of times and bring
| | 02:39 |
that back to where it was.
But it might happen.
| | 02:41 |
And now you know that under the Edit
Menu, under Preferences, Multi-track
| | 02:45 |
Clips, we have these options to control
what's going to be done to your clips
| | 02:50 |
when they overlap in the session.
| | 02:52 |
| | Collapse this transcript |
| Adding fades to multiple clips| 00:00 |
Very often within a multi track session,
you're going to want to fade up and fade
| | 00:04 |
down the beginnings or ends of your
clips.
| | 00:07 |
And that's very easy to do, once you've
selected a clip.
| | 00:10 |
But I just want to bring to your
attention here, first of all, I've got my
| | 00:14 |
global clip stretching turned on, which
means that if I click on the little
| | 00:17 |
triangles at the top of my clips, I'm
going to change the playback speed.
| | 00:21 |
I'm just going to turn that off to make
my interface a little bit cleaner.
| | 00:24 |
Secondly, you notice I've got this little
fade in control, and if I click and drag
| | 00:30 |
this, a fade is added to the clip, but
what if I've got two clips that I want to
| | 00:35 |
make an adjustment to, I'll just undo
that.
| | 00:38 |
I'm going to lasso to select these two.
And now, it's pretty difficult to see,
| | 00:42 |
but I've still got those little handles.
I'm going to click and drag.
| | 00:45 |
And now both of these are getting a fade
in.
| | 00:47 |
So far so good and of course it'll be
exactly the same if I navigate over and
| | 00:52 |
adjust the end but what if I've got
multiple clips?
| | 00:56 |
What if they're completely separate and
not lined up to begin with.
| | 00:59 |
So I'll just undo, control z or command
z, and I'm going to lasso all four of these.
| | 01:04 |
And now look what happens when I click
and drag.
| | 01:07 |
Nothing happens to the end of these other
two clips.
| | 01:12 |
And why is that?
Well, take a look at this.
| | 01:15 |
If I just keep dragging, I'm going to
pull this little control over and
| | 01:20 |
actually, it's kind of difficult to get.
There's my pan.
| | 01:22 |
There's my volume and up there's the fade
control.
| | 01:26 |
Maybe if I just zoom a little bit more.
So I'm increasing the the height of my tracks.
| | 01:30 |
This is going to separate out that little
pale icon from these rubber bands, if you like.
| | 01:35 |
These envelopes on my clips.
So now, I'm going to click and drag and
| | 01:39 |
I'm going to pull over.
And as it overlaps, as this control
| | 01:43 |
overlaps the ends of the other clips.
They extend to match the same point in time.
| | 01:49 |
So you can see what's happening here is,
these clips will interact or rather the
| | 01:54 |
controls will interact but only as far as
they overlap and that makes pretty good
| | 01:59 |
sense to me because you want the fades
that you apply to be based on the
| | 02:04 |
position within the overall mix rather
than based on the relative positions of
| | 02:09 |
the clips.
So just so you know if I go over to the beginning.
| | 02:13 |
I can have the same experience.
I can drag and now if I pull over this
| | 02:18 |
fade and keep going and keep going and
it's grabbed it.
| | 02:21 |
You see there.
Now that the end of that fade has matched
| | 02:23 |
the end of the existing fade on those
other clip.
| | 02:29 |
It's hooked onto it and it's now
repositioning all as a group.
| | 02:34 |
So that's applying fades to multiple
clips.
| | 02:37 |
At the same time, in the multi-track
editor in Adobe Audition.
| | 02:41 |
| | Collapse this transcript |
| Applying track-based equalization| 00:00 |
Working with EQ, or equalization, is such
a standard thing to do that Audition has
| | 00:06 |
a built-in EQ control for every track in
your multi-track session.
| | 00:11 |
If I click at the top here of my track
headers on the EQ button, this is
| | 00:16 |
going to take me to the EQ controls.
And I'll just pull this out a little bit
| | 00:19 |
so we can see this a little more clearly.
Again the top and bottom of this track
| | 00:23 |
header haven't changed, it's just this
central section.
| | 00:25 |
And I'm going to solo this vox track,
just so we can hear the results very clearly.
| | 00:30 |
Essentially I've got an on and an off.
If I say on I can't really do anything to
| | 00:35 |
this it's just a line to indicate what's
going on but if I click on the little pen
| | 00:39 |
here the EQ editor window, it's going to
take up a lot of my screen space with
| | 00:44 |
this new parametric EQ display.
So I've got some presets in place
| | 00:49 |
already, you can see reset, there's a low
pass, high pass and so on.
| | 00:53 |
But let's just start with the default.
Over on the left I've got the master gain.
| | 00:57 |
So this is another way of adjusting the
gain or the amplitude for the entire track.
| | 01:03 |
Separately to that I've got this line
running across the center of the graph.
| | 01:07 |
And on the right I've got decibels.
Zero DB is the original unmodified
| | 01:12 |
amplitude I can go up to.
Wow, what is that?
| | 01:14 |
As high as, is that plus 50, yeah, plus
48 DB?
| | 01:18 |
I'll just pull that back down again or I
can go down effectively to, well, minus
| | 01:23 |
48, here we are.
So now on the bottom edge of this graph
| | 01:29 |
I've got a frequency range starting with
very, very low frequency on the left and
| | 01:35 |
going up to 20K over on the right.
In fact, it's going just slightly over.
| | 01:40 |
And this works a little bit like an
envelope for amplitude, but what we're
| | 01:44 |
going to do, is adjust the amplitude for
different frequencies, and because of the
| | 01:50 |
line joining these dots together, each
dot is a control point, there we go,
| | 01:55 |
Audition is going to create a very
natural curve between one frequency and another.
| | 01:59 |
Now I'll just pull this over a little bit
so I can just access my time ruler.
| | 02:04 |
And start to play this.
And you can listen to the results.
| | 02:07 |
Each of the control points in this graph
is represented by a bunch of numbers at
| | 02:12 |
the bottom.
And you can use the numbers if you want to.
| | 02:14 |
You can click and drag.
You can click and type just as you would
| | 02:17 |
in other parts of the interface.
I can specify the precise frequency.
| | 02:21 |
How much gain I want to apply.
Here, I'm adjusting my number one.
| | 02:25 |
And also I can adjust queue.
And queue is the width, the shape if your
| | 02:30 |
like, as this line moves through that
control point.
| | 02:34 |
If I click and drag this, you'll see
exactly what I mean.
| | 02:36 |
It's very, very straight forward, very
flat, very, very sharp.
| | 02:41 |
Also, I can turn on or off individual
control points.
| | 02:44 |
So, if I turn this one off, number one
disappears, and it comes back on again.
| | 02:49 |
Over on the left here, I can specify a
high-pass filter.
| | 02:52 |
Which means everything above a certain
frequency is heard and below that it just
| | 02:56 |
drops off to silence.
You can see that as my high-pass.
| | 03:00 |
And I can do a low-pass filter.
That means below a certain frequency you
| | 03:03 |
can hear the audio.
And otherwise it drops off to silence.
| | 03:07 |
Again, I can turn that off and on.
Down here, under the Constant category.
| | 03:11 |
I can choose queue or width, which really
just toggles this control here between
| | 03:17 |
the information being displayed as a
number of Hertz, a number of frequency
| | 03:20 |
ranges, or as a queue number.
These are both just going to achieve the
| | 03:24 |
same thing.
Ultra Quiet is a try harder tick box.
| | 03:27 |
It just means that Audition will do a
better job of giving you a clean result,
| | 03:31 |
but it'll take more processing.
The range is pretty self explanatory.
| | 03:35 |
You can see that's changing the DB scale.
And here I've got a control.
| | 03:39 |
If I just pull these over a little bit so
you can see.
| | 03:43 |
I've got a control for the highest and
the lowest control points.
| | 03:46 |
And you can see it just shifts the shape
of the curve.
| | 03:49 |
You see that?
It's kind of flat or more linear.
| | 03:53 |
Let's turn that.
And you can see the difference.
| | 03:58 |
So, it's just giving you a more linear
line.
| | 04:00 |
So, if I'm happy with this, let me just
try playing it.
| | 04:05 |
(MUSIC) And you can very, very clearly
hear that I'm reshaping the audio.
| | 04:11 |
In this case, in a really awful way.
Now this filter effect, which I'll just
| | 04:28 |
close down, leaves behind a trace so you
can see on the track the adjustment that
| | 04:33 |
you've made, which is brilliant.
And it's actually exactly the same effect
| | 04:37 |
as the parametric equalizer, that is
under the Filter and EQ category of effects.
| | 04:43 |
Under Parametric Equalizer, there it is.
And this is an effect then that we can
| | 04:46 |
apply to our effects rack or to a clip in
the waveform editor.
| | 04:53 |
So that's applying track-based
equalization.
| | 04:54 |
Something that you can do to every track
just as standard in the Adobe Audition
| | 05:00 |
multi-track editor.
| | 05:02 |
| | Collapse this transcript |
| Exploring your audio with the Frequency Analysis panel| 00:00 |
If you're working on music composition,
you might want to know which frequencies
| | 00:04 |
are being used by different instruments.
How much of the air is filled already and
| | 00:09 |
where you have some gaps.
And there's a panel just for that, that
| | 00:13 |
you can use in the Multitrack Editor.
So if I go to the Window menu, bring up
| | 00:19 |
the Frequency Analysis panel.
Let's just take a look at the controls.
| | 00:23 |
Right now I've got a session open where
I've soloed just the vocals, and if I
| | 00:28 |
press Play, I'm just going to press the
space bar here, (MUSIC) right away we get
| | 00:32 |
this indication of what's going on.
I'm just going to press the Stop button
| | 00:36 |
here, I'm pressing the space button.
Let's take a look at what we've got.
| | 00:39 |
On the right is my DB, my decibel scale,
along the bottom is my frequencies, with
| | 00:44 |
low frequencies on the left and high
frequencies on the right.
| | 00:47 |
I can display this as lines or as an area
or as bars, I prefer lines.
| | 00:52 |
I can choose if I'm going to have the
left or the right channel, or if I'm
| | 00:57 |
going to average the two.
Under my advanced settings I can specify
| | 01:02 |
the Fast Fourier Transform size, so
that's the pieces of audio that are
| | 01:05 |
going to be measured.
The chunks, if you like.
| | 01:07 |
And we've got a couple of different
algorithms for measuring that level.
| | 01:12 |
Now, if I have the advanced controls
displayed, and I hover the mouse anywhere
| | 01:18 |
over this frequency graph.
You can see I'm getting specific values
| | 01:22 |
down here.
To tell me exactly what's going on with
| | 01:25 |
different parts of the audio.
I can also set my scale to logarithmic,
| | 01:29 |
each to their own.
I tend to prefer linear for this work,
| | 01:32 |
but you can see this expands the lower
frequencies.
| | 01:34 |
There's more emphasis here on where the
energy is in the audio.
| | 01:38 |
So back in linear, if I want to I can
click and hold a particular line.
| | 01:43 |
And now let's compare this to another
instrument.
| | 01:46 |
I'm just going to pull this down.
I'm going to turn off soloing the vocals.
| | 01:49 |
And let's turn on soloing our strings
instead.
| | 01:53 |
Now I'm going to press Play again.
(MUSIC) There's our strings.
| | 01:58 |
I'll just press Stop.
Turn on the number two.
| | 02:02 |
And now I've got two lines here,
indicating different instruments.
| | 02:06 |
Let's see what else I have here.
How about the keyboard?
| | 02:09 |
So let's turn off soloing for the
strings.
| | 02:14 |
Let's bring up the keys, let's have a
listen to that.
| | 02:17 |
(MUSIC) And let's take a little hold
print of that too.
| | 02:22 |
So now I'm getting an overall shape.
Now of course if I want to I could just
| | 02:27 |
turn off soloing altogether and have all
of the audio play.
| | 02:34 |
(MUSIC).
And you can see, you've got the overall
| | 02:36 |
shape for this particular session.
So the frequency analysis panel is giving
| | 02:41 |
you very precise information about
amplitude at different frequencies.
| | 02:45 |
And I can see here.
Well, there's vocals and so on.
| | 02:48 |
There's quite a lot of energy there.
Quite a lot of level in the lower
| | 02:52 |
frequencies, which is to be expected.
That's where the vocals are.
| | 02:54 |
Round about the 1 kilohertz, 3 to 500
hertz for most of the energy in the vocals.
| | 02:59 |
Which is the focus of this session.
But I can see that in the higher
| | 03:03 |
frequencies, there's definitely some room
there.
| | 03:05 |
So if I wanted to add an instrument to
throw in maybe an extra melody.
| | 03:10 |
I could probably do so in this region.
So that's the Frequency Analysis panel in
| | 03:14 |
Adobe Audition.
| | 03:15 |
| | Collapse this transcript |
|
|
10. Multitrack Special EffectsComparing track-based and clip-based effects| 00:00 |
When working with special effects in the
multitrack editor you have two ways of
| | 00:05 |
approaching where you put those effects.
You can either put them on individual
| | 00:09 |
clip segments, or you can put them on a
track.
| | 00:13 |
If I turn on the track effects display
here, you see I've got up to 16 effects
| | 00:18 |
on the list.
Now you can access both of these options
| | 00:21 |
by going to the effects rack, and you'll
notice that we've got clip effects and
| | 00:25 |
track effects, and I can toggle between
them.
| | 00:27 |
It looks pretty similar when you're in
one mode or the other, but you'll notice
| | 00:31 |
at the top I've got the name of the thing
I'm going to apply the effect to.
| | 00:35 |
In terms of the results that you get, its
pretty similar, but it's a lot less
| | 00:40 |
clicking if you use a track to apply your
effects rather than each clip.
| | 00:45 |
And just to give you an example here's a
clip, this is just a load of vocals that
| | 00:48 |
I have on the track here.
I can go to my effects rack with the clip
| | 00:52 |
effect selected, and maybe I'll take
something really simple like the
| | 00:55 |
parametric equalizer.
Okay, there it is, and then I choose the
| | 00:59 |
next one, and hm, okay, let's go in again
and okay, now I'm doing this manually.
| | 01:06 |
I could create a preset.
I could make this into a favorite that
| | 01:11 |
I'm going to apply in the Waver form
view.
| | 01:13 |
But you can pretty quickly see just how
much clicking is involved.
| | 01:18 |
In this process.
I won't bother playing it because it's
| | 01:21 |
going to sound pretty awful.
But compare that to this option.
| | 01:24 |
I'm going to go to track two.
And on my track two, I'm going to click
| | 01:28 |
to Track Effects.
So I'll just deselect that.
| | 01:31 |
Select track two.
You see it's a very subtly lighter gray,
| | 01:34 |
but it is selected.
I'll go once to my parametric EQ, do my
| | 01:40 |
amazing audio adjustment, and I'm done.
Now, just to draw you attention to this
| | 01:45 |
as well, you'll notice that on my effects
rack, I've got my track to effects.
| | 01:50 |
There's the parametric equalizer.
Here it is again on the track header itself.
| | 01:55 |
If I got my effects displayed.
And in fact if I go to the mixer.
| | 02:00 |
Here's my track two, and I'm just
going to need to expand and collapse
| | 02:04 |
things a little bit to have enough room
to show you.
| | 02:06 |
So I'm just using these disclosure
triangles to make a bit more space.
| | 02:09 |
But there it is again, there's my
Parametric Equalizer.
| | 02:13 |
And in fact this really is the same list
as this one over here.
| | 02:17 |
We do need to be clear about this
distinction between clip and track based effects.
| | 02:21 |
All of the effects that you apply in the
multitrack session editor are nondestructive.
| | 02:26 |
That means you're not doing anything to
your original audio files.
| | 02:30 |
Not so if you're in the WAV form view.
Where changes you make are only really
| | 02:34 |
finely applied.
When you click the Apply button in the
| | 02:37 |
effects rack.
And then they're written to the file.
| | 02:39 |
So it's kind of good to work in the
multitrack editor.
| | 02:42 |
And not have to worry about those
permanent changes.
| | 02:45 |
But you will find that sometimes the
amount of work the machine needs to do to
| | 02:49 |
playback those effects in real time is
too much.
| | 02:52 |
And that's where this little lightning
bolt button comes in.
| | 02:55 |
The pre-render track option.
Now, I'm going to click this.
| | 02:58 |
But before I do, I just want to draw your
attention to this area in the track
| | 03:02 |
header for track two.
Just watch that very carefully as I click
| | 03:05 |
this button.
There.
| | 03:06 |
Now it was pretty subtle, but there's a
tiny little clock.
| | 03:10 |
And what happens is Audition will render
any effects that I've applied to the
| | 03:14 |
track into a temporary file.
Entering playback its the temporary file
| | 03:18 |
that's used, rather than the original
files plus the real time effects.
| | 03:23 |
The effect of that is, that when you play
back, Audition is actually just playing a
| | 03:27 |
single file.
It doesn't have to play back the original
| | 03:31 |
audio clips, plus work out all of those
calculations for your effects.
| | 03:34 |
Now right now, I'm just using a
parametric equalizer, which is pretty
| | 03:37 |
easy for the machine to play back.
The convolution reverb effect is pretty
| | 03:42 |
cpu intensive.
And it'll take a little while for the
| | 03:45 |
machine to render the track if I put this
on.
| | 03:48 |
Let's add this.
I'll just use the default settings.
| | 03:51 |
That's okay.
See the clock?
| | 03:53 |
See how much slower that is.
And what we're seeing here is the work
| | 03:56 |
being done in the background.
By this machine.
| | 03:59 |
If I turn off this pre-render track
option, yes I can play this effect back
| | 04:04 |
and in fact I'm on a powerful machine, so
it's probably going to be okay.
| | 04:07 |
But at least you have this option to
pre-render if you're on a lower power machine.
| | 04:12 |
While we're here, on this panel, notice
as well at the bottom.
| | 04:15 |
If I am in the track effects mode I've
got a pre-fader and post-fader option.
| | 04:20 |
This is referring to the mixer fader
amplitude control, which is actually the
| | 04:25 |
same as this volume control per track.
Some effects are going to give you
| | 04:29 |
different results depending on whether
they are before or after the amplitude
| | 04:33 |
adjustment that you've made.
If you've made.
| | 04:35 |
So you've got this option here as well.
In fact that option is doubled up in the
| | 04:40 |
mixer too right up here next to the
effects.
| | 04:43 |
I can switch the mode there as well.
You can see that updates across the screen.
| | 04:48 |
So that's just a quick comparison of
working clip by clip on your effects or
| | 04:53 |
working with your tracks.
| | 04:55 |
| | Collapse this transcript |
| Applying reverb or delay| 00:00 |
It's very likely that at some point
you're going to want to add some Reverb
| | 00:04 |
or a Delay effect to your audio.
And let's just start out by defining the
| | 00:08 |
difference between these two effects.
A Delay just repeats the audio multiple
| | 00:13 |
times, usually trailing off into silence.
A Reverb can introduce quite naturalistic
| | 00:18 |
environmental factors like surface
reflection and the size of the room and
| | 00:23 |
that kind of thing.
It creates a virtual environment.
| | 00:26 |
Let's start out by looking at a simple
Delay effect and then switch to a Reverb.
| | 00:30 |
Here I've got some vocals, (MUSIC), I'm
working with my Effects Rack set to the
| | 00:37 |
Track Effects Mode.
So, whatever I do is going to apply to
| | 00:40 |
the whole track.
So I'm going to go to my Effects menu and
| | 00:43 |
I'm going to choose Delay and Echo and
I'm going to choose Analog Delay.
| | 00:47 |
This is quite a nice delay effect, let's
just pull this over a little.
| | 00:51 |
Remember the Delay Effect, well it is an
echo it just repeats the audio in
| | 00:54 |
different ways.
And there's quite a few options here you
| | 00:56 |
can play with to finesse the result of
the echo.
| | 00:59 |
But if I just play this (MUSIC), you can
hear for yourself the changes that are resulting.
| | 01:07 |
(MUSIC).
So now, if for example, I choose one of
| | 01:10 |
the many presets.
Let's go for Jellyphone for example or
| | 01:14 |
maybe even Call of Kaifu.
(MUSIC) Or maybe if we go for something
| | 01:21 |
like Kenyan Echoes which is actually more
subtle than it might seem.
| | 01:30 |
(MUSIC) Let's just stop that.
So, you get the idea.
| | 01:37 |
Really, it's just repeating the audio and
you've got a couple of different modes
| | 01:41 |
that you can manage whether the original
audio is coming out 100%.
| | 01:45 |
Or if you're just going to get the wet
out, which is the affected part out.
| | 01:49 |
You can control the delay, the feedback.
I'll just close this panel and I'm
| | 01:53 |
going to turn off that analog delay.
And I'm going to go to the Effects Menu
| | 01:58 |
and this time I'm going to choose Reverb
and we've got multiple Reverbs, but I'm
| | 02:02 |
going to choose the Convolution Reverb.
And I just want you to hear how subtle
| | 02:06 |
this is compared to the Delay Effect.
So the Delay Effect is turned off.
| | 02:10 |
And I"m going to play this back (MUSIC),
that's the Default Preset which is set
| | 02:19 |
with the impulse of a Classroom.
This is actually modeling the acoustics
| | 02:23 |
of a specific environment.
You see here we've even got a room size
| | 02:27 |
option, damping for low frequencies and
high frequencies and so on, and these
| | 02:31 |
models are pretty advanced.
If I just play this back as well,
| | 02:35 |
(MUSIC), lets try, A Cold House.
Have a listen to this.
| | 02:38 |
(MUSIC) or even, Bitter Hallway.
Have a listen to that (MUSIC), you can
| | 02:52 |
hear how nuanced and how subtle that is
compared to the original if I turn off
| | 02:57 |
the effect that's what we're working
with.
| | 03:03 |
So, the difference between delay and a
Reverb is I suppose a question of
| | 03:08 |
complexity, but also the nuancing of the
model.
| | 03:13 |
Delay can be great for artistic effects.
But if you want to place somebody in the
| | 03:17 |
theoretical environment, you're going to
be playing around with Reverbs.
| | 03:22 |
So that's, an introduction to the
differences between working with Reverbs
| | 03:25 |
and Delays in Adobe Audition.
| | 03:27 |
| | Collapse this transcript |
| Adding compression| 00:00 |
Compression is a simple technique where
you combine changes to the amplitude of
| | 00:06 |
your audio.
Usually, increases to the amplitude.
| | 00:08 |
With a limiter that prevents the peaks of
your audio going over a certain level.
| | 00:13 |
The combination of those two adjustments
means that the middle range amplitude, if
| | 00:19 |
you like.
The parts of your audio that don't go
| | 00:22 |
over your limit, they all get louder.
But you still stay within the levels that
| | 00:27 |
you are permitted, either for broadcast
or for your ultimate output.
| | 00:31 |
So, everything seems to get louder, but
the peaks are still acceptable.
| | 00:35 |
I've got this vocal track here in my
session.
| | 00:38 |
And I'm going to go to my Effects menu
and I'm going to choose Amplitude and Compression.
| | 00:44 |
I'm going to choose this pretty simple
tube model compressor.
| | 00:48 |
It's quite nice for doing pleasant warm
vocals.
| | 00:51 |
Let me just pull this over a little bit.
And let's just have a listen to this with
| | 00:55 |
the default settings.
(MUSIC).
| | 00:58 |
Now, if I pause this here with the level
set, you can see that we're peaking
| | 01:03 |
around about minus 15, 17, maybe 18 db.
And that's partly because I've brought
| | 01:08 |
the level down in the master.
You can see that I've set this to minus 8
| | 01:12 |
db, just so that you can hear me
reasonably well while this is playing back.
| | 01:16 |
Now, inside the controls of this
compressor, you can see on the left we've
| | 01:20 |
got our level and on the right we've got
the amount of attenuation that's being applied.
| | 01:24 |
The amount this audio level is being
reduced.
| | 01:27 |
So, if I playback again, you can see that
with default settings, the threshold is
| | 01:31 |
set to 0 db, so we're not reducing the
level at all.
| | 01:35 |
If I pull this threshold down (MUSIC),
and then adjust the ratio, there we go.
| | 01:46 |
So now, what we've got is my threshold is
really pretty low.
| | 01:52 |
It's about -30 dB, or minus 28 dB I
suppose.
| | 01:56 |
(MUSIC).
And this red line is indicating how much
| | 02:04 |
of the audio is being dropped because of
this adjustment.
| | 02:08 |
I can also click and drag here, or click
and type to increase the gain.
| | 02:12 |
So, I'm now applying gain to boost to the
amplitude on the one hand, just in the
| | 02:17 |
gap in the music there.
And on the other, we're setting this
| | 02:20 |
pretty low threshold to stop the audio
going over the level we want.
| | 02:25 |
The ratio is, if you like the
amplification or the amount of reduction
| | 02:29 |
that is being applied once things go over
our threshold.
| | 02:33 |
I was going to say over 0 db, but it's
over minus 28.
| | 02:36 |
The attack is the speed of the
adjustment.
| | 02:38 |
And the release is how long it's going to
take to let go.
| | 02:41 |
Which might seem like a rather complex
bit of controls.
| | 02:43 |
But if you play with this, you'll soon
work out what does what.
| | 02:46 |
Now, if I go for a preset here, maybe
just go for vocal booster.
| | 02:51 |
You can see these are pretty reasonable
settings and you can hear right away.
| | 02:55 |
(MUSIC).
It's just got a bit more punch.
| | 02:59 |
I can do things like a Voice Leveler
which will just smooth out the audio.
| | 03:03 |
(MUSIC).
And you can see there's quite a few,
| | 03:05 |
there's a Voice Thickener.
And again, the Voice Thickener, you can
| | 03:11 |
see is increasing the gain by 12 dB which
is quite a lot.
| | 03:15 |
At the same setting the threshold to
minus 25.
| | 03:17 |
That ratio of 4 to 1 means that quite a
lot of audio is being cut.
| | 03:22 |
Let's just stop that.
Now, I'm not afraid to own up and admit
| | 03:25 |
that for ages I had trouble understanding
what compression was.
| | 03:29 |
Because in my head the word compress
means to make something smaller and
| | 03:32 |
actually that's not really whats going on
here.
| | 03:34 |
Remember, we're amplifying the audio at
the same time as setting a limit to the
| | 03:40 |
maximum volume that's permitted.
The result is, that those middle range
| | 03:44 |
amplitudes get louder, but the peaks are
still acceptable.
| | 03:48 |
And there are other compression effects
available.
| | 03:51 |
You can see here, we've got quite a lot.
We've got a Speech Volume Leveler, which
| | 03:55 |
is, really, just a pretty simple
interface.
| | 03:58 |
This filter is particularly good if
you're working with dialogue, for example.
| | 04:02 |
And under the advance settings we can
turn on a Compressor which will maintain
| | 04:06 |
a certain level and a Noise Gate.
And a Noise Gate just means Below a
| | 04:09 |
certain amplitude the audio will be cut
to silence.
| | 04:13 |
And again, these presets here, medium,
soft, and strong, and so on.
| | 04:17 |
And you can play with those.
So, there are quite a few different
| | 04:20 |
compression options.
And you may find you get better or worse results.
| | 04:23 |
There's also some very good third party
VST plug-in compressors available that
| | 04:27 |
will work with Audition.
Take note though, when you're
| | 04:30 |
experimenting with effects as I am just
now, that each time you open an effect
| | 04:35 |
you are adding it to the list in the
Effects Rack.
| | 04:38 |
I've now, without intending to, added two
effects to the list.
| | 04:42 |
So, I can select one of these and hit the
Delete key.
| | 04:44 |
And if I want to change an effect on the
list for a different one, rather than
| | 04:48 |
going to the Effects menu, I can click on
this little triangle and choose an
| | 04:52 |
alternative effect from the list.
In any case, that's adding compression to
| | 04:57 |
your audio in Adobe audition.
| | 04:59 |
| | Collapse this transcript |
| Using presets and favorites| 00:00 |
You have probably noticed in each of the
special effect interfaces, there's a
| | 00:05 |
little button to make a preset.
If I just double-click on this tube
| | 00:08 |
compressor, I've got some settings on
here that are pretty close to one of the
| | 00:12 |
default ones.
But over on the right I've got a little
| | 00:14 |
button to save these settings as a preset
and a trash can icon to delete a preset effect.
| | 00:20 |
So if I Save this as Amazing Compression,
there we go.
| | 00:24 |
So now, of course, if I ever play this
effect again, let's just take it from
| | 00:29 |
this menu.
Now I've got Amazing Compression as an option.
| | 00:33 |
So that applies in all of the effects
that are inside of Audition by default,
| | 00:38 |
and, very commonly, you'll find that with
that party VST plugins.
| | 00:41 |
You've got a similar kind of option.
But inside the effects rack, I have a
| | 00:46 |
similar button.
Now, if I combine a couple of effects
| | 00:49 |
here, let me go for some really simple
ones.
| | 00:51 |
So, I'll just get Parametric EQ, and I'll
do some incredible EQ work.
| | 00:55 |
There we go, fantastic piece of EQ.
So now I've got compressor and some EQ,
| | 00:59 |
and remember, the order in which effects
are listed in this Effects rack is the
| | 01:04 |
order in which they're applied.
And you can change that easily enough by
| | 01:07 |
dragging them up and down the list.
And maybe I'll just run my audio a little
| | 01:11 |
bit more, by going for the Pitch Shifter,
and dropping this audio down by a semi
| | 01:16 |
tone or 2, there we go.
So I have 3 effects in here.
| | 01:19 |
And if I want to I can click the button
and call this Amazing Rack Effect preset.
| | 01:26 |
So there we are, that's now under my
preset.
| | 01:28 |
And in fact there is quite a long list of
presets included or ready with your
| | 01:34 |
installation of Adobe Audition.
And some of these are pretty nice.
| | 01:38 |
We've got far away source, for example,
notice we've got a warning here because
| | 01:42 |
the Reverb effect is CPU intensive,
that's okay.
| | 01:45 |
And, let me just resize this a little,
get rid of those extra controls.
| | 01:52 |
I just have a little listen to this.
(MUSIC).
| | 02:00 |
So, there's actually quite a lot already
installed with the system.
| | 02:03 |
But you'll also notice, way over on the
right here, we've got this Save Current
| | 02:08 |
Effects Rack as Favorite option.
So we've got our presets.
| | 02:12 |
We've also got Favorites.
So if I go to my Window menu and I choose
| | 02:16 |
Favorites you'll see that we've got a
whole list of items here that are kind of
| | 02:21 |
preset effects.
But they're in their own panel.
| | 02:23 |
So I'm going to click on here and I'm
going to say this is a Favorite and let's
| | 02:27 |
call this Wonder Sound.
And if we now look at our Favorites
| | 02:31 |
Panel, there is Wonder Sound, so maybe if
I go back to my files, go to my Media Browser.
| | 02:38 |
Let's pick up this millionaire voice
instead, I think it is this item here.
| | 02:45 |
Yup, that'll do.
Let's go to our multi track.
| | 02:47 |
Let's pull that down onto a track as
well.
| | 02:50 |
Let's select that track, go to our
Favorites, and then here's this Wonder
| | 02:54 |
Sound item.
I want to apply this shortcut Favorite
| | 02:58 |
but, now wait a minute, I can't do it.
I've got no play button I can click on here.
| | 03:02 |
I've got a trashcan to delete things,
I've got a Manual Adjust option, so I can
| | 03:06 |
click and change the order of these,
that's fair enough.
| | 03:09 |
And then over on the right I've got a
grab handle a little bit like the one in
| | 03:13 |
the waveform editor to display the
spectral display.
| | 03:17 |
And here we go, if I select one of these
items, now I've got a list of actions
| | 03:22 |
that are performed.
If I scroll down to our Wonder Sound,
| | 03:24 |
there it is.
I've got the effects right that needs to
| | 03:26 |
be set up.
But why can't I apply this?
| | 03:30 |
And the reason is that the Favorites
Panel is for working in the Waveform display.
| | 03:34 |
If I double click to open up this vocal,
and now go to my Wonder sound Preset.
| | 03:42 |
Let me just open this up a bit and go
back to my effects rack.
| | 03:46 |
Now if I click on the Play button here to
run the selected Favorite.
| | 03:50 |
it's going to take a moment because it's
quite a long piece of audio but, there
| | 03:56 |
is, it's done.
Now if I Play this (MUSIC), so now what
| | 04:03 |
we've got is a set of favorites that we
can assign to audio in its own panel.
| | 04:09 |
Independently of the Effects Rack.
And what really makes this interesting is
| | 04:12 |
this heading here, Shortcut.
Now if I go to the Edit menu and I choose
| | 04:17 |
Keyboard Shortcuts, this is going to be
under the Audition menu on Macro S.
| | 04:21 |
You'll notice that I have a Favorites
category.
| | 04:24 |
And if I expand that and scroll down we
now have Wonder Sound as one of the options.
| | 04:31 |
And I can add a keyboard shortcut to
that, just click Add.
| | 04:33 |
Put in the shortcut you want.
Let's just come out of there, and I can
| | 04:37 |
therefore assign these actions which
could be, as you can see from the list.
| | 04:42 |
Normalizing, or moving 60 Hertz hum, or
any change that I've made manually.
| | 04:47 |
Put that onto a keyboard shortcut and
apply it to a whole series of audio files
| | 04:53 |
very very quickly.
So, that's adding presets, both to
| | 04:56 |
Individual Effects and to your Effects
Rack.
| | 04:59 |
And creating favorites from them that you
can work with multiple times in the future.
| | 05:04 |
| | Collapse this transcript |
| Using the mixer for track-level automation| 00:00 |
As well as manually adding control points
to a rubber band here to create an
| | 00:06 |
envelope, adding key frames, as it were,
to this line.
| | 00:09 |
You can also use the Audio Mixer to ride
the audio and create key frames on the fly.
| | 00:14 |
Now, just to demonstrate this, I'm
going to pull this mixer over.
| | 00:18 |
And I'm just going to resize the display
a little bit.
| | 00:21 |
So, you can see a little better what's
going on.
| | 00:23 |
I'm going to rename this track, Vocals.
So, we can see here in the Audio Mixer
| | 00:29 |
we've got those Vocals set up.
And I'll just pull the Play Head through
| | 00:33 |
a little bit, so we're part way through
it.
| | 00:35 |
I've got this set to the Read mode.
Notice that if I change this to any of
| | 00:40 |
the other modes, it updates on this track
in the Audio Mixer.
| | 00:43 |
I can probably just pull this over a
little as well.
| | 00:46 |
I'm just resizing.
So, the Off mode means that, well, let me
| | 00:50 |
show you.
If I put this to Read, and I'm going to
| | 00:53 |
really make some dramatic changes to the
level here.
| | 00:56 |
You can see as I scrub through, the fader
is moving.
| | 01:01 |
If I set this to Off, the fader does not
move.
| | 01:04 |
And this means that the level will stay
at whatever level it's on, regardless of
| | 01:10 |
the existence of adjustments to the
envelope.
| | 01:13 |
So, Read is the default mode, and that
makes this line do stuff.
| | 01:17 |
But then, we have these addition options,
Write, Latch, and Touch.
| | 01:21 |
And I suppose we could work with these in
order.
| | 01:24 |
If we start with Write mode, and notice I
can change this over on the Mixer as
| | 01:28 |
well, it makes no difference.
Now, as this is playing, I can grab the
| | 01:32 |
fader and make adjustments, and new key
frames are going to be written as we go.
| | 01:36 |
So lets try that.
I'm going to press the space bar to play,
| | 01:39 |
and I'm now dragging this up and down,
and adding some key frames.
| | 01:45 |
You'll notice that they don't appear
until after I press stop.
| | 01:50 |
And now, look at that.
I'm going to just zoom in a bit.
| | 01:53 |
I have many key frames.
And frankly, it's probably more key
| | 01:57 |
frames than could possibly be useful.
But if I go into my Edit > Preferences >
| | 02:04 |
Mulitrack options.
This will be under the Audition Menu in
| | 02:08 |
Mac OS.
You'll notice that under key frame
| | 02:10 |
automation, I've got this option, minimum
time interval thinning.
| | 02:14 |
And at the moment, it's set to 30
milliseconds, which is a very very small
| | 02:19 |
amount of time.
If I increase this to something like
| | 02:22 |
that, a 3rd of a second, 300 milliseconds
and click OK.
| | 02:25 |
Now, if we have another go, we're
going to get bigger gaps.
| | 02:29 |
Now, I'll come to that in a second,
before I do, I want to show you these two
| | 02:32 |
other modes.
So, first of all, the Write mode is one
| | 02:35 |
where whatever happens with the fader,
it's going to override existing key
| | 02:40 |
frames that are on the rubber band.
And just to illustrate this again, let me
| | 02:43 |
press Play again.
Notice the fader is not moving.
| | 02:47 |
I move, I let go, it stays where I leave
it.
| | 02:51 |
I press stop, and look what's happened
this time.
| | 02:53 |
Remember, I increased the distance
between the key frames quite dramatically
| | 02:57 |
in the Preferences.
And I've got much more manageable key
| | 03:00 |
frames here now.
Notice also that the beginning of that
| | 03:03 |
adjustment is a flat level one.
That's before I grabbed the fader.
| | 03:07 |
Then, I've got the movement.
And then, when I let go of the fader, and
| | 03:10 |
before I press stop, there's another flat
area.
| | 03:13 |
So, the Write mode, which is the mode I
was on just now, will ignore existing key
| | 03:18 |
frames completely and just put new ones
down.
| | 03:21 |
If you have a controlled surface set up
with Audition, of course, you can do this
| | 03:24 |
with manual faders connected to your
machine.
| | 03:27 |
I'll come back to that in just a second,
but the Touch mode is the opposite.
| | 03:32 |
It will follow the key frames all the
time unless you're holding the fader.
| | 03:36 |
So again, the Write mode, whether you're
holding it or not, the fader writes new keyframes.
| | 03:41 |
With the Touch mode, you have to be
holding it for you to replace the key
| | 03:45 |
frames that are there.
So again, I shall press the space bar,
| | 03:48 |
notice the fader's moving.
I'm going to click and grab it, put some
| | 03:53 |
new key frames in, let go, and it starts
following again.
| | 03:56 |
When I press the Stop button, or the
space bar in this case, you can see I've
| | 04:00 |
created some new key frames.
The Latch mode is halfway between Write
| | 04:06 |
and Touch mode.
In Latch mode, the fader will follow
| | 04:11 |
existing key frames until you grab the
fader, and then it will stay wherever you
| | 04:16 |
leave it.
So again, I'm going to press the space bar.
| | 04:19 |
There's my fader, moving around with my
fantastic audio mix.
| | 04:22 |
I'm now going to grab it and start making
adjustments and where I leave it, it stays.
| | 04:29 |
Now, when I press the space bar to stop,
you can see what's happened.
| | 04:34 |
I've got the original movement exactly as
it was, then the new key frames that I
| | 04:39 |
just added.
And then, it just stays where I leave it.
| | 04:42 |
These three modes are absolutely
universal, you'll find them in pretty
| | 04:47 |
much, any audio editing application.
Again, you need to have this on the Read
| | 04:51 |
mode by default or this envelope
adjustment, this key framing inside your
| | 04:56 |
session, is not going to have any effect.
So, that's working with automation using
| | 05:02 |
the mixer in Adobe Audition.
| | 05:05 |
| | Collapse this transcript |
| Saving time with multitrack templates| 00:00 |
As well as making new multi-track
sessions manually.
| | 00:04 |
Either by selecting some clips and
throwing them in with the right click command.
| | 00:08 |
Or by using the New File button.
You can also make multi-track sessions
| | 00:12 |
based on templates.
So I've just gone in here into the new
| | 00:16 |
multi-track session menu and I can give
this a name and I can give it a location
| | 00:21 |
and I suppose I could just browse and put
this in here give it a folder, multitrack templates.
| | 00:29 |
Okay, let's call this multi track
templates complete.
| | 00:36 |
I have all these usual options, but this,
this additional menu template.
| | 00:41 |
And there are quite a few pre built
template multi track sessions.
| | 00:45 |
If I just choose a simple one as an
example, or an obvious one.
| | 00:49 |
Here's Full Rock Band.
Now notice when you choose a template
| | 00:52 |
things like the sample rate bit depth and
mastering are all greyed out.
| | 00:55 |
These are fixed within the template.
So I'll say, OK.
| | 00:59 |
And you can see right away what's
happened.
| | 01:01 |
The metronome is on, I've got a track
called, Kick.
| | 01:05 |
Let me just pull this over a little bit.
This is already set up with a snare, low tom.
| | 01:13 |
Let me just zoom out so you can see this.
Multiple tracks that are blank, they're
| | 01:17 |
empty, they're ready for you to put audio
on to.
| | 01:20 |
And these are all feeding in if I go to
my inputs or outputs you can see the
| | 01:25 |
output for this track is to drums.
This is all going to a bus called drums
| | 01:31 |
and the drums bus is going through to the
master which means that the output from
| | 01:36 |
all of these drums tracks.
Is all being funneled through this one
| | 01:39 |
sub mix right here.
If I scroll over on my mixer, there it
| | 01:43 |
is, drums, and you'll notice that a lot
of these have effects already.
| | 01:47 |
They're also color coded.
Now I'm just going to tidy this up a bit
| | 01:51 |
by pulling the mixer into my multi-track
editor frame.
| | 01:55 |
Let's have a look at our Effects Rack.
So here in the Drums Bus, I've already
| | 02:00 |
got a multi-band compressor and if I open
this up, it's been set already with
| | 02:04 |
compression for multiple frequency
ranges.
| | 02:07 |
Now a multi-band compressor is the same
as a regular compressor.
| | 02:10 |
Except that it applies the compression
within specific frequency ranges.
| | 02:15 |
You see here I've got my lows, mids and
highs and my super highs if you like, are
| | 02:20 |
all broken into their separate
compression controls.
| | 02:23 |
But this is exactly the same as the
compression controls for something like
| | 02:26 |
the tubular compressor.
So, let's close that down.
| | 02:30 |
Let's take a look at some of these other
tracks.
| | 02:33 |
My bass mic is already set.
I've got a bass bus as well.
| | 02:38 |
Guitar and so on, and so on, and so on.
And all of this is configured, ready for
| | 02:44 |
me to put my audio onto it, my vox track.
We've even got a vox sub mix which has
| | 02:50 |
that tube model compressor on it.
So the idea is that you build a template
| | 02:55 |
session that matches the kind of work
that you want to do.
| | 02:58 |
And it's already got the tracks named,
and it's got some effects in place and
| | 03:03 |
it's configured in the right way for your
work flow.
| | 03:05 |
Course, you may never work on two
sessions that are the same.
| | 03:09 |
But if you do, this could be very useful.
If you go to the File menu and go to the
| | 03:13 |
Export option you'll see that one of the
export options it export the session as a template.
| | 03:19 |
The default location is already
configured here, I'm on a PC.
| | 03:23 |
This would be in your user directory in
your Library in a Mac OS.
| | 03:27 |
Give it a name that you can remember and
it will pop on the list when you create
| | 03:30 |
new sessions in the future.
So that's working with multi-tract
| | 03:35 |
templates in Adobe Audition.
| | 03:37 |
| | Collapse this transcript |
|
|
11. Integration and OutputSending a sequence from Premiere Pro to Audition| 00:00 |
If you are producing an Edit, in Adobe
Premiere Pro and you'd like to send the
| | 00:05 |
audio from that edit over to Adobe
Audition, it's pretty straight forward to do.
| | 00:10 |
I've got Premiere Pro open on the screen
here, and here's Adobe Audition waiting
| | 00:15 |
in the background.
I'm just going to make sure my sequence
| | 00:17 |
is selected inside of Premier Pro.
This is a very simple sequence and I've
| | 00:21 |
kept it nice and short so the files
aren't too big for you to download.
| | 00:25 |
Now, if I go to the Edit menu and choose
Edit in Adobe Audition and choose
| | 00:30 |
Sequence, this is going to pop up with a
standard dialogue.
| | 00:33 |
I can name the output.
This is okay.
| | 00:36 |
I can browse to where it's going to go
and actually I think that directory's
| | 00:40 |
alright for me.
I can choose to take the entire sequence
| | 00:43 |
or just the work area which could be the
in and out marks in your sequence if you
| | 00:48 |
just want to send a part of it.
And look at this, I've got Audio Handles.
| | 00:51 |
Now, what's going to happen when I click
OK, is Premier Pro is going to generate a
| | 00:55 |
new separate copies of all of the audio
used in this sequence.
| | 01:00 |
And if you're not familiar with video
editing a sequence is a little bit like
| | 01:03 |
multitrack session in Audition.
The reason it's going to make copies
| | 01:07 |
instead of sending over the originals is
that work flows in non linear editing
| | 01:12 |
systems and non destructive.
You never make changes to your original
| | 01:16 |
media files.
Thought in post-production audio, it is
| | 01:19 |
the norm to make changes to the original
audio.
| | 01:23 |
So we have to be a little bit careful
about crossing that boundary.
| | 01:27 |
By sending over perfect copies, we kind
of have the best of both worlds.
| | 01:30 |
But because we're only sending over the
part used in the sequence, we might
| | 01:34 |
want to have some extra media left over.
Just to have some leeway Perhaps for
| | 01:38 |
things like crossfades and sort.
So you can specify that extra media and
| | 01:42 |
it's called a Handle.
I can also choose to Export the video,
| | 01:45 |
which is what I'm going to do.
Now this is going to export a relatively
| | 01:49 |
low resolution video of whatever is on
the screen for the duration of the sequence.
| | 01:55 |
This is incredibly useful, because
Audition can allow the support of one
| | 02:00 |
layer of video when producing a
multi-track session.
| | 02:03 |
And it means effectively you can produce
your audio composition to picture.
| | 02:06 |
Remember this is a flattened output of
all of your layers of video.
| | 02:09 |
So if you got multiple layers with titles
and so on It doesn't matter, it's
| | 02:13 |
going to come through just fine.
I've got the option to Render Audio Clip
| | 02:16 |
Effects, because if I've done any audio
work inside of Premier Pro.
| | 02:20 |
I may want that to be persistent and to
come with the audio into Audition.
| | 02:25 |
Maybe I've got some special effects
already.
| | 02:27 |
Some audio adjustments, and so on.
Notice here for example, I've got my Clip
| | 02:31 |
Volume Metadata.
And that means if I've added any
| | 02:34 |
adjustments over time to audio level,
which you can do in Premiere Pro just as
| | 02:38 |
you can in Audition using envelopes.
In Premiere Pro it's called
| | 02:42 |
Rubber-Banding, it's the same thing,
though.
| | 02:44 |
I can send that over and it'll pop up in
Audition, ready for me to make changes to
| | 02:49 |
if I want.
Then, of course, I've got an option to
| | 02:51 |
Open the result in Audition.
So I'm going to click OK.
| | 02:55 |
This is going to take a moment to prepare
the video and to duplicate the audio.
| | 02:59 |
And here we are now in Audition.
Here are our copies of the audio.
| | 03:04 |
Notice this is called extracted, these
NVI0720 and so on, these are the file
| | 03:09 |
names that are in my Premier Pro
sequence.
| | 03:13 |
Here is the sequence itself importing now
as XML, and turned into a Multitrack
| | 03:19 |
session in Audition, and here the video a
rented out AVI.
| | 03:23 |
If I switch on my Video panel and just
resize a little bit, well lets have a
| | 03:28 |
look and a listen.
Its not exactly going to to be audio joy,
| | 03:31 |
but you get the point.
(SOUND).
| | 03:33 |
So, now I'm in a session, ready to work
in Adobe Audition.
| | 03:40 |
I've got all of my tracks, I can do
whatever I like with this audio, and I
| | 03:45 |
can produce my finely finished sound
track.
| | 03:48 |
| | Collapse this transcript |
| Sending your multitrack session to Premiere Pro| 00:00 |
Let's say you have finish dour work in
Adobe Audition as you go about producing
| | 00:06 |
a multi track mix for a film or
television program, whatever.
| | 00:10 |
You have taken this originally form
Premiere Pro, you have worked on it and
| | 00:14 |
now you want to send it back to Premiere
Pro.
| | 00:17 |
So let's say this is my multi track
session and I can tell already that you
| | 00:22 |
are going to be impressed by my
incredible mixing here.
| | 00:25 |
I've made some wonderful adjustments and
I'm ready to send this back to Premier Pro.
| | 00:29 |
I suppose in the real world I might do a
little more work than this but anyway
| | 00:33 |
I'll hope that you get the gist.
Now that I'm here in Adobe Audition I've
| | 00:37 |
got a couple of options in fact.
You know one option is I could just And I
| | 00:42 |
could choose Export.
I could do a multitrack mix down and I
| | 00:46 |
could then just make a single file and
send that over to the editor who is
| | 00:51 |
working with Premier Pro.
And in fact what we're about to do is
| | 00:55 |
pretty much the same but with a little
bit more automation.
| | 00:57 |
There's nothing wrong with just exporting
the session into a high quality audio
| | 01:01 |
format and giving that to the editor.
As long as you've got key sync points
| | 01:05 |
between your Multitrack session and the
original sequence that your editor's
| | 01:11 |
working on.
Well, in that case it makes no difference
| | 01:14 |
at all which editor they're using.
They could be using FCP Media Composer,
| | 01:18 |
Premiere, doesn't really matter.
So, I'm going to go to the Multitrack
| | 01:22 |
menu instead, and I'm going to choose
Export to Adobe Premiere Pro.
| | 01:26 |
So obviously, this work flow only applies
if the editor is using Premiere Pro and,
| | 01:31 |
in fact, if Premiere Pro is installed on
this machine, it's one step better.
| | 01:36 |
Much of this dialog will be pretty
familiar to you.
| | 01:39 |
We've got a file name.
I'm just going to call this Amazing Audio
| | 01:43 |
Mix, to make it a bit easier to identify.
You're going to choose a location.
| | 01:47 |
I'm pretty happy with that location.
It's in my Sending a Session from
| | 01:50 |
Audition folder and we're going to choose
a Sample Rate.
| | 01:54 |
Now here, by default, I'm getting the
sample rate of my session, and that's
| | 01:57 |
probably fine.
But since I happen to know that the audio
| | 02:03 |
for my Premiere Pro project is 48
kilohertz rather than 44.1.
| | 02:09 |
We might as well up sample this now and
get the better quality form the beginning.
| | 02:13 |
If I don't do this I know that Premiere
Pro is going to need to anyway, and now
| | 02:18 |
we've got some pretty logical but useful
options.
| | 02:21 |
I can export each individual track as a
Stem, and a Stem is just.
| | 02:25 |
A single piece of audio that begins at
the beginning and runs to the end of the
| | 02:29 |
each track, if there's a pause, if
there's any silence, if there's any gaps,
| | 02:33 |
you would just get silent audio.
And you'll end up with one piece of audio
| | 02:36 |
for each track in your Multitrack
session.
| | 02:38 |
Or, I can export each bus now, I don't
have any buses in this Multitrack
| | 02:43 |
session, so I don't have that option.
But I suppose if I was summing the output
| | 02:48 |
form multiple audio tracks into a bus for
each type of audio it could be pretty useful.
| | 02:54 |
Because then it's each category of audio,
you like, has its own stem, and then I
| | 02:58 |
have this option to mix down the session.
Which is what I"m going to choose, to a
| | 03:03 |
Mono, Stereo, or Fiber One surround sound
file...
| | 03:06 |
Now notice these are tick boxes so I can
do all three if I want.
| | 03:09 |
I'm just going to choose a Stereo file
because that's what I'm ultimately going
| | 03:13 |
to be moderating too in Premiere Pro.
And I'm going to leave the tic in the box
| | 03:16 |
here to open in Adobe Premiere Pro.
Now if I just bring Premiere Pro up
| | 03:21 |
again, you can see here I'm ready and
waiting, I've got my sequence open.
| | 03:26 |
And my Project panel is ready to receive
whatever Audition is going to send.
| | 03:31 |
So lets toggle back over and lets click
Export.
| | 03:35 |
That's pretty fast because remember that
all we're producing here is a relatively
| | 03:39 |
short audio file.
My entire session is about maybe 22
| | 03:43 |
seconds and when I came into Premier Pro
which came up on its own automatically.
| | 03:47 |
I've got this menu that appears, where do
you want to copy to?
| | 03:51 |
This is going to go into the active
sequence and by that it means the
| | 03:54 |
sequence that's open right now, that's
just like having a session open in Audition.
| | 03:58 |
You can see that just like in Audition
I've got multiple tracks here.
| | 04:02 |
My Audio one already has some stuff on
it.
| | 04:04 |
This is the original Sync Audio for my
clips.
| | 04:06 |
Audio two and three are blank, or if I
want to I can choose New Audio Track.
| | 04:10 |
Now, simply out of paranoia, I would
probably choose New Audio track.
| | 04:15 |
Just in order to be extra careful in case
maybe there's something off screen that I
| | 04:18 |
haven't seen.
I don't know, maybe there's some clip
| | 04:20 |
there that I just haven't notice.
Maybe it's 4 in the morning and I'm not
| | 04:24 |
paying attention.
Just to be on the safe side I'm going to
| | 04:27 |
choose New Audio Track and I'm going to
click OK, and there it is.
| | 04:31 |
Notice that it's lined at the zero point
in my starting sequence.
| | 04:35 |
And over in my Project panel, which is
just like the Files panel in Audition, I
| | 04:39 |
can expand this bin.
We don't have folders or bins in Audition.
| | 04:43 |
But they're just like any kind of folder
on your hard drive.
| | 04:45 |
And there is the mix that's come in.
This has come in rather like a session in Audition.
| | 04:52 |
And here's the audio that comes with it,
and there it is.
| | 04:56 |
There's the audio.
If I just resize the heading here,
| | 04:59 |
sending a session from Audition to
Premiere Pro_Stereo, of course I've made
| | 05:03 |
it a rather long session name.
And here it is on my timeline.
| | 05:06 |
For me to hear that in Sync, I'm going to
want to turn the audio Off for my
| | 05:10 |
original Sync Audio.
Because of course it's still there, here
| | 05:13 |
it is on the timeline.
So, I'm going to Mute it.
| | 05:15 |
I've got a mute button in Premiere Pro
just as I do in the session, in Audition.
| | 05:20 |
And now (NOISE) I've got the audio that
came in from Audition.
| | 05:23 |
In fact, if I just resize this a little,
you can see the waveform plot.
| | 05:29 |
This way of displaying audio waveforms is
a little bit different to the way it's
| | 05:32 |
displayed in Audition.
But it's exactly the same principle.
| | 05:36 |
So again if I just toggle back to
Audition, if you have a Multitrack
| | 05:40 |
session that you want to send through to
a non linear editor.
| | 05:43 |
You can just go to File and perform and
Multitrack mix down.
| | 05:47 |
But if you are working with Premiere Pro
on the same machine, then you can choose
| | 05:51 |
Multitrack and Export to Adobe Premiere
Pro.
| | 05:55 |
| | Collapse this transcript |
| Saving your multitrack session to different formats| 00:00 |
If your multi-track session is complete
and you're ready to share it with the
| | 00:06 |
world, the next thing you're probably
going to want to do is produce a mixdown
| | 00:11 |
of all of the tracks into a single file.
And you do this by going to the File menu.
| | 00:15 |
And choosing Export and Multi-track
Mixdown.
| | 00:18 |
Now you'll notice a couple of these
options are grayed out.
| | 00:20 |
At the moment I've got entire session
selected, if I make a time selection and
| | 00:24 |
drag it across a few clips.
You'll see under that menu I've now got
| | 00:28 |
the option to take just the part I've
selected or just the clips that I've
| | 00:32 |
selected or the whole session.
I'm going to choose the whole session.
| | 00:35 |
The file name is going to be based on
your session name.
| | 00:39 |
I'm going to rename this wonderful export
and let's browse to that directory.
| | 00:46 |
Lets just have this on here, and we
should output, there we go.
| | 00:51 |
Saving to different formats.
Let's put it there.
| | 00:55 |
And then we've got some pretty
straightforward options.
| | 00:59 |
The options here are very much the same
as the options we choose when we're
| | 01:05 |
creating a new waveform file.
Here we can choose format though, in addition.
| | 01:10 |
So we can choose AIF or WAV or broadcast
wave file, and we've got a whole bunch of
| | 01:15 |
other options here.
To be honest, you could just read through
| | 01:18 |
and research them.
AAC is very high quality, with a little
| | 01:21 |
bit of compression.
And when we talk about compression in
| | 01:24 |
this context, it is, of course, quite
different to audio compression that we
| | 01:28 |
work with in our mix or in our waveform.
File compression is a system for reducing
| | 01:34 |
the size of the file in exchange for,
reducing the quality.
| | 01:39 |
So, we lose a bit of quality, but we also
gain by reducing the file size.
| | 01:43 |
Usually, the more you reduce the file
size, the worse the quality of the playback.
| | 01:49 |
However, another factor is the quality of
the compressor.
| | 01:51 |
That is, the format that's used to record
the information.
| | 01:56 |
And of course beyond different formats
being more or less efficient at storing
| | 02:00 |
the information.
You've also got compatibility issues.
| | 02:02 |
For example, a broadcast wave file is
sometimes difficult to read because not
| | 02:06 |
everything can access those files without
a kind of a glitchy noise at the start.
| | 02:11 |
So it's quite a big debate, but if we
stick to WAV or AIF, in fact we're
| | 02:15 |
working uncompressed and so it's not
something we really need to worry about.
| | 02:18 |
Although the files will be very large.
Under sample type I can choose to convert
| | 02:23 |
the sample type, same as source of course
is the same as the original multi-track session.
| | 02:28 |
But you can choose anything you want and
the same goes for bit depth.
| | 02:33 |
You can make a lot of these kinds of
changes to your media.
| | 02:35 |
Just cancel out of this.
Under format options you can see I can
| | 02:40 |
choose my sample type, goes up pretty
high for the WAV file format.
| | 02:45 |
Just come out of that, and under my
mixdown options, I can actually specify
| | 02:50 |
to mix down multiple versions of my
session.
| | 02:54 |
And this is pretty powerful.
If I want to, I can just produce a master
| | 02:57 |
output in stereo.
That's pretty much what I want.
| | 03:00 |
I can also produce multiple mixes where
I'm just producing each individual track
| | 03:06 |
as its own file.
And I can take each bus as its own file.
| | 03:10 |
This gives me a great deal of flexibility
for how I'm going to selectively output
| | 03:15 |
my session.
Although I must admit for new users it is
| | 03:17 |
rather a lot of tick boxes and options.
The default option of just exporting what
| | 03:23 |
you're mastering to is probably what
you're going to be looking for.
| | 03:26 |
Just cancel out of that.
Here at the bottom I've got my option to
| | 03:31 |
include my markers if I want to as
metadata.
| | 03:33 |
That means as supporting data inside the
file, embedded in the file.
| | 03:37 |
And then, I've got the option to open the
file or files that I create after I export.
| | 03:43 |
In fact, just to make this a little bit
smaller for people to download, let's
| | 03:47 |
change this to something like MP3,
that'll play everywhere.
| | 03:49 |
44.1 KHz, stereo 32 bit, that's okay, 192
kilobytes per second constant bit rate.
| | 03:56 |
Let's just go crazy with the quality and
make it variable bit rate.
| | 04:00 |
Variable bit rate just means the system
will assign different amounts of data,
| | 04:04 |
different amounts of file size to more
complex parts of the audio.
| | 04:08 |
And to simple pass at the audio, so it
just does a bit of a moderation.
| | 04:12 |
That'll do.
I'll click OK.
| | 04:14 |
This should be pretty quick, because this
is a pretty powerful computer, and it's
| | 04:19 |
not an especially long session, and we're
done.
| | 04:23 |
And here is my wonderful export MP3.
I can open this up, and that's the
| | 04:28 |
complete mix of my session.
I won't play it, because it's had some
| | 04:31 |
pretty random stuff done to it.
So again, exporting your session to a
| | 04:36 |
file is very straightforward.
File > Export > Multitrack Mixdown,
| | 04:41 |
choose the part you want and then specify
the settings.
| | 04:44 |
| | Collapse this transcript |
| Burning a music CD| 00:00 |
Burning audio onto a disc is very
straightforward in Adobe Audition.
| | 00:05 |
Let's say, for example, I've got a series
of audio files here, that, maybe I just
| | 00:10 |
want to share them for review.
And notice that one of these, the one
| | 00:13 |
I've got open right now.
Has a couple of markers, Marker 01 and
| | 00:17 |
Marker 02.
Now by default when you add markers, even
| | 00:20 |
if you make them temporal, that is if you
extend the duration, give them a range.
| | 00:24 |
They're going to be cue type markers, and
what we really need if we want these to
| | 00:29 |
be identified as separate tracks on the
CD that we're going to burn.
| | 00:33 |
So we need to change this type to CD
tracks.
| | 00:35 |
So I'm just going to change that for
these two right here.
| | 00:39 |
So the first thing to do is create a CD
layout.
| | 00:42 |
Now so I'm going to go up to this new
file item here in the Files Panel and I'm
| | 00:47 |
going to choose New CD Layout.
And you'll notice that this is untitled
| | 00:51 |
by default.
I can drag and drop items onto the list here.
| | 00:56 |
Notice I can drag and drop this one that
has the markers on it.
| | 01:00 |
And it still just gives me a single.
Item.
| | 01:02 |
If I want to include the individual
parts, I need to go down to my markers
| | 01:06 |
panel and I can drag and drop those
markers with the duration.
| | 01:11 |
There's just one little gotcha here.
You'll notice at the top right corner of
| | 01:14 |
the Markers panel, there's a little
button and it's called Show Markers of
| | 01:17 |
All Files.
If I turn this off, you'll notice that I
| | 01:20 |
won't see the markers because at the
moment, I'm looking in my editor at the
| | 01:25 |
contents of this CD rather than looking
at the contents of the file.
| | 01:29 |
If I open up the file by double-clicking
it, there you see I get my markers, open
| | 01:33 |
up the CD, no markers.
So if you turn this on, now you've got
| | 01:37 |
access to those and you can drag them
onto the list.
| | 01:40 |
Notice as well that this is called
Untitled CD Layout number 7 because I've
| | 01:45 |
been playing around with this.
And I can't really rename it.
| | 01:47 |
I can right-click, doesn't give me any
option.
| | 01:49 |
But if I press Ctrl+S or Cmd+S or if I go
to File and choose Save, then I get the
| | 01:56 |
option to give this CD layout a name.
And notice that it's a .CDLX file.
| | 02:02 |
You can browse to the location you want
the file to be stored.
| | 02:05 |
I'll call this First CD.
And you can see I don't really have many
| | 02:09 |
options in the format menu.
It's just a CD layout file.
| | 02:12 |
I'll click OK and you see I'm getting a
little warning here saying, well by the
| | 02:17 |
way, some of your references on the CD
are based on the track that has markers
| | 02:20 |
that haven't been saved.
Look here, up in my Files panel.
| | 02:24 |
Have a little asterisk next to this file
name and that's telling me that I haven't
| | 02:28 |
saved the file.
That's okay.
| | 02:29 |
I don't mind and now again this is
telling me about the file because I've
| | 02:33 |
got markers that haven't been saved and
changes to the file itself that haven't
| | 02:37 |
been saved.
This is all fine.
| | 02:38 |
I'll just say Yes, save it and we're
done.
| | 02:41 |
So now I have my layout, I can easily
change the order by dragging and dropping.
| | 02:46 |
Let's just position these for no
particular reason in one order or another.
| | 02:51 |
And if I'm happy, you see I've got a
duration here based on the total duration
| | 02:55 |
of the disc I have in my drive.
I've got the amount of space I'm going to use.
| | 02:59 |
That's all fine.
All I need to do is click Burn Audio to CD.
| | 03:03 |
This is going to check the drive.
You see, here, it's gathering information.
| | 03:07 |
It's telling me about the drive on my
machine, and it's giving me the option to
| | 03:10 |
write the disc or just to test it.
Now the juries out for me on testing.
| | 03:14 |
I know that theoretically you should, but
its been years since I've had any
| | 03:18 |
problems burning an audio disc, or any
kind of data onto a disc so.
| | 03:21 |
It's up to you if you're not sure it's
going to work out.
| | 03:23 |
You could run a test first.
You can specify the speed, again, if
| | 03:27 |
you're not sure about your drive.
You can slow down the burning process.
| | 03:31 |
I find this is usually okay.
Specify a number of copies if you like.
| | 03:35 |
Click and type or click and drag to
change that number.
| | 03:38 |
And you can also specify to verify the CD
after burning, just to check that the
| | 03:42 |
data has arrived correctly, and eject if
you want to.
| | 03:45 |
I'm not going to eject.
I'm going to click OK, and this is being conformed.
| | 03:50 |
And that means it's going to strip out
the additional data and just burn the raw
| | 03:54 |
audio information onto the disk.
With a series of those CDA files that
| | 03:57 |
just define the tracks that are available
for players and off we go.
| | 04:03 |
Its burning the disk now and I've paused
there to skip through the time a little
| | 04:07 |
for you but you can see we're now on the
verifying stage.
| | 04:10 |
Its just checking the data.
And you can see the CD was burned and
| | 04:15 |
verified successfully.
Okay, and that's it.
| | 04:17 |
That's how you burn a CD with Adobe
Audition.
| | 04:20 |
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| Importing XML files| 00:00 |
It's a relatively small issue, but I just
want to take a moment to reassure you,
| | 00:04 |
and draw attention to how easy it is to
import things like XML files.
| | 00:09 |
I imagine by now you're pretty used to
importing audio files, having a lesson,
| | 00:14 |
working with them.
But XML is a markup language, a bit like
| | 00:17 |
an edit decision list that points to a
series of other files.
| | 00:21 |
And you can be forgiven for thinking that
the import process is somehow different.
| | 00:25 |
Maybe you're going to go to the File
menu, you're going to start looking under
| | 00:28 |
Import to see if there's some way that
you can do a special interpretation of
| | 00:31 |
this kind of edit decision list file.
But it just isn't there.
| | 00:36 |
We've got the option to import
application settings.
| | 00:38 |
But you can just import a file, which is
the same as right-clicking and choosing
| | 00:42 |
Import, Ctrl or Cmd+I.
And I just want to take a moment here to
| | 00:46 |
say, actually, you can treat XML files
just like any other audio file for the
| | 00:50 |
purposes of import.
I'll just do this now.
| | 00:54 |
I'm going to double-click in the blank
space in the Files panel to bring up the
| | 00:56 |
Open dialogue.
And I've got an XML file right here.
| | 01:00 |
This is an XML file exported from Premier
Pro, in the process of sending a sequence
| | 01:05 |
from Premier Pro to work on in Adobe
Audition.
| | 01:10 |
And I'm just going to select it like any
other audio file.
| | 01:13 |
Make sure you've got your File Type menu
set to All Supported Media, or I suppose
| | 01:19 |
to the .XML format.
Otherwise you just won't see it.
| | 01:23 |
Then I'm going to select this item, I'm
going to click Open and watch what happens.
| | 01:27 |
Right away, although I've imported an
XML, this has been converted into a
| | 01:32 |
multi-track session, and that multi-track
session has the items in it that were
| | 01:36 |
originally referenced by that XML.
So again, I just wanted to take a moment
| | 01:41 |
to show you that when you're working with
these other file types, in terms of the
| | 01:45 |
import process, and accessing them in
Audition, it's no different to importing
| | 01:50 |
a regular audio file.
| | 01:52 |
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| Exporting a session to OMF and XML| 00:00 |
If you want to share your Multitrack
session with users that are working with,
| | 00:04 |
perhaps Final Cut Pro, or Media Composer,
or Premiere Pro, you want to bring your
| | 00:09 |
session with all its individual clips
into another system, you can do so with
| | 00:13 |
Adobe Audition.
I've got a session open here and I'm
| | 00:16 |
going to go to File > Export, and down
under the Export list I've got FCPXML
| | 00:21 |
interchange format, and I've got OMF.
Now if I start with XML, you'll see right
| | 00:26 |
away I'm getting a warning message.
The constant power panning mode is not
| | 00:30 |
supported in this file format.
The FCPXML format has a limited range of
| | 00:36 |
effects that are supported.
The net effect is if you continue, the
| | 00:40 |
effect just won't be applied when the
media arrives in the other editing system.
| | 00:45 |
And this is a common problem when you're
sharing work between multiple editors,
| | 00:48 |
and ultimately what it comes down to is
you do your rough editing, perhaps your
| | 00:53 |
timing, sharing the work between multiple
editors, but at some point you have to
| | 00:57 |
choose one system or another and just go
ahead and finish in there.
| | 01:00 |
So here's I'm going to click OK, it
doesn't really matter, and the options, I
| | 01:05 |
imagine, are going to be pretty familiar
to you.
| | 01:07 |
Give it a file name, notice that this is
.xml, give it a location, the format
| | 01:12 |
options are pretty limited, it's going to
be in XML, decide on the inclusion of
| | 01:18 |
markers and other metadata associated
with your session.
| | 01:22 |
Decide also if you want to save copies.
And this is pretty useful because if
| | 01:25 |
you've got media files in multiple
locations on your system you can tick
| | 01:30 |
this box and choose if you want to have
copies of all of the media associated
| | 01:35 |
with your session put into a folder with
the XML file.
| | 01:39 |
This is a great way of just consolidating
everything and pulling it together to
| | 01:43 |
share the work with other editors.
I think the options here will be pretty
| | 01:47 |
familiar to you.
You can take just the parts of your
| | 01:50 |
original audio that are used in your
session, or you can take the entire
| | 01:54 |
source files.
You can convert to another format if you
| | 01:57 |
want, and you can include additional
options like video if you've been editing
| | 02:02 |
to video markers, and so on.
You've even got the option to open the
| | 02:05 |
session you've just created after you
save it, so you can compare and make sure
| | 02:09 |
that it looks and sounds okay.
So, let's FCPXML, which is actually used
| | 02:13 |
quite a lot as an interchange format
between nonlinear editing systems as much
| | 02:17 |
as it's available for Audition.
Under the File menu again, under Export,
| | 02:21 |
I've also got OMF.
And OMF is quite a traditional format for
| | 02:26 |
distributing audio information.
But once again, you'll see that there are limits.
| | 02:30 |
I'm getting warnings here saying, well
hold on.
| | 02:32 |
BUS tracks will be ignored because the
OMF format doesn't support BUSes.
| | 02:36 |
Track EQ is the same.
A few different options here just won't
| | 02:39 |
be supported.
I'm getting a total estimated file size,
| | 02:42 |
and that's partly because I've got under
my settings Encapsulated.
| | 02:47 |
When you produce OMF media.
That OMF can include the media files
| | 02:52 |
themselves inside the OMF file.
So it'll be one big file that in this
| | 02:57 |
case is an 830 megabytes.
Or if I click Change, I can switch this
| | 03:02 |
to referenced.
And then if I'm referencing the audio,
| | 03:05 |
then I can choose whether the audio I'm
going to be referencing is going to be
| | 03:09 |
AIF or WAV.
I can choose if I'm going to trim or use
| | 03:13 |
the whole files.
If I am trimming, then I can have a
| | 03:15 |
handle duration.
That means some excess media to allow for
| | 03:18 |
some leeway later, some adjustment.
I ususally set this to a minimum of five seconds.
| | 03:23 |
To be honest, I'd probably set it to 20,
just out of paranoia.
| | 03:26 |
And in this case, what I'm doing if I
just click OK, is I'm going to make a
| | 03:31 |
relatively small OMF file that references
a series of new copies of my original media.
| | 03:37 |
So this is very much like the option we
had for XML export, where we're gathering
| | 03:42 |
together all of our media files.
The difference is we really don't get a
| | 03:45 |
choice with OMF.
We're going to do it.
| | 03:48 |
Once I'm happy with these settings,
whether it's XML or OMF, I click Export
| | 03:52 |
and the files are created.
So again it's very straightforward to
| | 03:55 |
share your work with other systems that
perhaps can't read an Adobe Audition
| | 03:59 |
multitrack session file.
Just go to File > Export, choose FCPXML
| | 04:05 |
or OMF and you should find that one way
or the other people will be able to
| | 04:08 |
access your creative work.
| | 04:10 |
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| Outputting to SoundCloud| 00:00 |
If you use SoundCloud to share your
musical mastery, then you can now upload
| | 00:06 |
your sessions directly to that service
from inside of Adobe Audition.
| | 00:10 |
I've got a session open here, and let's
say I'm super happy with it and it's
| | 00:14 |
ready to go.
All I have to do is go to File > Export >
| | 00:18 |
Upload to SoundCloud from the menu.
The options here are just the same as
| | 00:24 |
those that you'd have if you were
exporting a mix down into a file.
| | 00:28 |
The difference is that Audition will
automatically fire up an interface to
| | 00:33 |
upload that file to your SoundCloud
account.
| | 00:36 |
It doesn't really matter which way this
is going.
| | 00:37 |
I'm just going to click OK, so I can show
you the interface.
| | 00:41 |
And notice in the background this file is
now being mixed down and produced.
| | 00:45 |
Now all I have to do is put in my email
address and password, log in, click
| | 00:49 |
connect, and the file's going to be
uploaded to the SoundClound service.
| | 00:52 |
So it's very easy now, to share your work
directly from Adobe Audition with SoundCloud.
| | 00:59 |
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