IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hello, and welcome to this Audition CS6
new features course.
| | 00:09 |
I'm Maxim Jago.
I'm an Adobe master trainer, film maker,
| | 00:13 |
and author.
I created the Adobe Audition CS5.5 learn
| | 00:17 |
by video course.
And in this course, I'll be showing you
| | 00:20 |
what's happened in the dramatic
development.
| | 00:23 |
From Audition CS5.5 to Auditions CS6.
Adobe have achieved a great deal with
| | 00:29 |
this release.
As well as improving playback performance
| | 00:32 |
even further, and expanding Audition's
core functionality, there are some
| | 00:35 |
impressive new special effects and
controls.
| | 00:38 |
Latch, Touch, and Write modes are back.
Allowing you to record audio level
| | 00:43 |
envelopes on the fly.
And there are innumerable user interface
| | 00:47 |
improvements to make your audio creation
workflows that much smoother.
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Audition CS6 has automatic and manual
pitch correction, and includes a new
| | 00:57 |
tonal spectral display.
There's a new automatic speech alignment
| | 01:01 |
feature that helps you replace dialog
with perfect lip sync, and support for
| | 01:05 |
hardware controllers.
So, you can use a physical mixing disc to
| | 01:09 |
control the virtual mixer.
All in all it's a tremendous new release.
| | 01:14 |
In this course, you'll learn about new
features and how to integrate them into
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your post production sound work flow.
This course is designed to get you up to
| | 01:22 |
speed as quickly as possible.
So if you already use an early version,
| | 01:26 |
you're in the right place.
I hope you enjoy our time together.
| | 01:30 |
Now, let's get started.
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1. Exploring Adobe Audition CS6What is Adobe Audition CS6?| 00:02 |
Audition CS6 is a powerful
post-production sound editing application.
| | 00:08 |
It's got two modes.
Here I'm in the multi-track mode.
| | 00:11 |
You can see I can build multi-track audio
compositions.
| | 00:14 |
I can work on effects in real time in
this mode.
| | 00:17 |
I can make changes to my audio and
combine the audio in multiple ways.
| | 00:21 |
I can use a mixer to do this.
I can work on individual channels this
| | 00:25 |
way and I can even use external mixing
desks, control surfaces.
| | 00:31 |
I can even use a tablet computer to
control my faders.
| | 00:35 |
Here we go, you'll see I've got fader
controls on here as well.
| | 00:38 |
You also have a waveform interface.
And in a way, Audition, it's kind of like
| | 00:43 |
two applications combined into one.
One part of the application is for sound
| | 00:48 |
work, and here you can see I've got a
whole effects rack and I can apply
| | 00:52 |
multiple audio effects to this piece of
sound.
| | 00:56 |
I can view this in multiple ways.
You see here I've got the spectral
| | 01:00 |
display but, in two modes in this version
in Audition CS6.
| | 01:05 |
In this mode I'm seeing my spectral
display as simple frequencies, so time is
| | 01:09 |
going left to right and the frequency is
going bottom to top.
| | 01:13 |
There's my frequencies on the right.
And amplitude is shown by the brightness
| | 01:17 |
of the dot.
So, you can see I've got a lot of base
| | 01:20 |
notes here and that makes sense because
it's bass.
| | 01:23 |
(music playing) But if I switch to the new pitch
display, I can see this in terms of notes
| | 01:28 |
and the reason you want this is because
Auditions CS6 now has automatic.
| | 01:36 |
Pitch correction, and this is what the
auto-tuning does when pop stars are
| | 01:39 |
making sure they can hit the note right
in post-production.
| | 01:44 |
So you can just see approximately the way
you need to, and then go down to Time and
| | 01:48 |
Pitch> Automatic Pitch Correction.
Press Play, hit Go and Audition will just
| | 01:54 |
fix the sound for you.
Audition comes as part of the Production
| | 01:58 |
Premium, or their Master Collection.
And it's got fantastic round trip editing
| | 02:03 |
support for Adobe Premier Pro.
You can send and edit from Premier Pro
| | 02:07 |
straight into Audition.
And then in Audition, when you've
| | 02:10 |
finished working on it, you can export
back to Premiere Pro and you can choose
| | 02:14 |
to export stems, or you can have a mix
down to a particular file type.
| | 02:18 |
You can even do a 5.1 mix if you like.
And you can edit to video.
| | 02:22 |
So here for example, if I take this
interview clip and make a new multi-track
| | 02:27 |
from it.
Let's just call this.
| | 02:30 |
Interview example.
There we go.
| | 02:35 |
Now, you can see we've got the new
Dynamic Link Media Server serving up
| | 02:39 |
video frames and now we can work with
highly responsive video playback.
| | 02:45 |
High quality using the shared media
server that applications like Premiere
| | 02:49 |
Pro used to play back their media.
When you're working in the Waveform mode,
| | 02:56 |
you can see at the top here I've got this
option to toggle between the modes.
| | 03:00 |
When you're in this mode you're making
destructive changes to your media.
| | 03:05 |
So here I've got an effects rack but
nothing's really applied until you click Apply.
| | 03:10 |
So here for example.
Maybe I'll go first parametrically cue.
| | 03:15 |
What am I adjusting?
Guitar.
| | 03:17 |
(music playing) Let's play this.
I've got fantastic, dynamic adjustments
| | 03:22 |
to my effects.
That'll do.
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Isn't really going to do anything to my
audio until I click Apply, and then it's
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been adjusted.
So, you are working on the original media
| | 03:32 |
files, but if you switch over to the
multi-track view.
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You can choose.
Most of the time you're going to be
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working in a dynamic mode where the
effects are applied in real time.
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You can put up to 16 effects on a track
or on individual clips and you can
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combine them all together.
Audition CS6 lets you extract audio from
| | 03:52 |
audio CDs, and so here you can see I've
got an audio CD ready to go.
| | 03:58 |
And we've even got a CDDB server serving
up the data.
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So I don't need to type it in myself.
Very straightforward to extract content
| | 04:06 |
from a disc now.
And for that matter, if I want to, I can
| | 04:09 |
burn CDs.
So here's a CD layout.
| | 04:13 |
I can burn the audio to a CD.
Specify the write speed.
| | 04:16 |
And so on and so on.
And then.
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I've produced my music disc.
I suppose one of the main benefits in
| | 04:23 |
working with Adobe Audition is something
you can't really get from a video like
| | 04:27 |
this one.
You really need to get your hands on it
| | 04:31 |
and just experience how responsive it is,
how you can just hit play and in fact if
| | 04:35 |
I just zoom down a little bit here and
drop the volume.
| | 04:40 |
You can see I can start playing, and
while this is playing I can adjust the level.
| | 04:45 |
I can go in and look at my clips.
I can start playing with my effects.
| | 04:49 |
Everything just keeps going.
You get this wonderful experience of
| | 04:52 |
responsiveness, and stability when
working for Audition.
| | 04:55 |
Audition CS6 has a new speech alignment
feature.
| | 04:59 |
Where you can replace audio, if you like.
I can take a replacement bit of voice
| | 05:05 |
over for this clip.
Lay it on the timeline.
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Select the clips, and choose Automatic
Speech Alignment.
| | 05:12 |
And then pick out which clip I want to
use as a reference.
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And just replace the voice of my speaker.
Now, this is a very very common feature.
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Automatic Dialogue Replacement is used a
lot on feature film sets, and it means
| | 05:23 |
that if you have got bad location sound,
sometimes, bad location sound is about
| | 05:26 |
the only thing you can't fix in post.
You just have to re-record it.
| | 05:31 |
Well, if you've had to do that, you can
have Audition trim and adjust and re-time
| | 05:35 |
the studio voice-over to match perfectly
to give you lip-sync with your original media.
| | 05:43 |
Audition also has great support for third
party plug-ins, so under our effects list
| | 05:47 |
now, you'll see we've got a VST3 support.
VST3 plug-ins are just a continual
| | 05:52 |
development of the technology.
They're 64-bit native.
| | 05:56 |
They're very efficient for CPUs.
It's a great thing to have support inside
| | 05:59 |
Audition for that.
And we've got support for new file types
| | 06:04 |
as well.
We have the .ape file type, we've got Vox
| | 06:06 |
Orbis files.
It's a continual development of the application.
| | 06:10 |
But again it makes most sense if you
think of Audition as two different
| | 06:13 |
applications that merged together.
We've got the waveform view, where you're
| | 06:17 |
going to be working on individual pieces
of audio.
| | 06:20 |
Is a classic example of using the Wave
Form View, or at least the Spectral Display.
| | 06:25 |
We've got a telephone ringing in the
background on this clip.
| | 06:30 |
Using this display, we can select the
telephone ring, delete it.
| | 06:36 |
Play it again, and its fixed.
And we can see the telephone ringing
| | 06:42 |
because of the way the spectral display
is displaying our frequency information.
| | 06:47 |
That's one mode where you're going to
work effects, clean up your audio.
| | 06:50 |
Its got best in class noise correction
tools.
| | 06:54 |
Or you can switch over to the multi-track
mode and blend together.
| | 06:58 |
Multiple pieces of audio and do
track-based or clip-based effects.
| | 07:02 |
Here you can see I've got multiple pieces
of media blended together on a mix.
| | 07:07 |
I can work on these to produce either a
mix down or I can send it right back into
| | 07:11 |
an application like Premier Pro to
produce a mix for a television program or
| | 07:15 |
a film.
If you prefer to work with hardware, then
| | 07:21 |
you can use the new automation modes.
Here we've got volume control, or if we
| | 07:25 |
want, we can show envelopes for all of
the options here.
| | 07:30 |
We can do pan.
We can do track EQ, and you'll notice
| | 07:33 |
that we've got proper latch touch and
right modes here for writing the audio
| | 07:36 |
with our hardware controller.
As we play back, so Adobe Audition CS6 is
| | 07:42 |
a comprehensive, professional sound
post-production application.
| | 07:48 |
It's part of the Production Premium
suite.
| | 07:50 |
It's part of the Master Collection.
And it provides a range of tools to help
| | 07:54 |
with the countless tasks post-production
sound professionals deal with.
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2. Importing and Managing Media FilesThe Media Browser| 00:02 |
Importing files into Adobe Audition is,
of course, very straightforward.
| | 00:06 |
You can double-click here in the Files
panel.
| | 00:10 |
Or you can right-click and choose Import.
And you can even click on these buttons
| | 00:14 |
up here.
One of which will just open the file, and
| | 00:17 |
bring it into display.
And the other will import the file
| | 00:21 |
without opening it.
So it won't interfere with your current
| | 00:23 |
work (INAUDIBLE)
It won't open up the file in the editor.
| | 00:26 |
But there is another way.
So here, if I double-click, I can browse
| | 00:30 |
my hard drive.
And maybe, if I pick a track, click Open.
| | 00:34 |
There it is.
I'm ready to work on it.
| | 00:37 |
But what if I'm not quite sure which
file I want to work with?
| | 00:40 |
Well here now, in Adobe Audition CS6,
we've got a media browser.
| | 00:46 |
A dedicated tool for browsing the
contents of our hard drive.
| | 00:51 |
If you've seen the media browser included
with Premiere Pro CS6 then you'll
| | 00:55 |
recognize this window.
Essentially on the left, we've got our
| | 00:59 |
various drives on the machine.
You can see I've got quite a lot on this machine.
| | 01:04 |
And on the right we see the contents of
any directory we select.
| | 01:09 |
So here if I browse into my project files
you can see there's my audio files.
| | 01:13 |
And here they all are.
And there's a little preview option at
| | 01:16 |
the bottom of the panel, just as I have
in the files panel.
| | 01:21 |
So I can select an item, I can press
play.
| | 01:26 |
>> Aquo is an energy.
>> And I can loop play and I can turn
| | 01:30 |
off and on this autoplay so with autoplay
on everything I select.
| | 01:35 |
>> Aquo is an energy drink.
>> Live as if.
| | 01:38 |
Live as if.
>> Aquo is.
| | 01:41 |
>> Is going to play.
Pretty straightforward stuff.
| | 01:45 |
So this is really just for locating
content on your hard drive without having
| | 01:49 |
to go into the finder on Mac OS or
Windows Explorer in Windows.
| | 01:54 |
But there's another feature here.
If I select, for example, this P2 folder.
| | 02:02 |
Now this is the contents of a P2 card.
A Panasonic camera.
| | 02:04 |
And it uses the MXF format.
And it's what I would call a fragmented
| | 02:08 |
file system, so you've got the video in
one place and the audio in another.
| | 02:12 |
This is a video camera that's very, very
popular.
| | 02:15 |
If I click into the audio directory here,
I've got some MXF wrapped up audio.
| | 02:20 |
This is my left and right audio channels,
but you'll notice that the play button is
| | 02:23 |
grayed out.
Now this is because the MXF file type
| | 02:27 |
isn't really supported traditionally by
Audition, it's really a video editing
| | 02:32 |
system format.
But with Audition CS6, if I go to the
| | 02:37 |
Edit menu, and this would be the Adobe
Audition menu in Mac OS, and I choose the
| | 02:42 |
Media and Disc Cache options, you'll see
I've got this Dynamic Link Media category
| | 02:47 |
of preferences.
If I turn this feature on then Audition
| | 02:55 |
is going to make use of the Adobe dynamic
link media server.
| | 03:01 |
And this is a media core server that is
used by applications like Premiere Pro
| | 03:06 |
and After Effects.
And it allows for, if you like the
| | 03:10 |
interpretation, the translation, of
multiple file formats including those
| | 03:14 |
that traditionally Audition wouldn't have
supported.
| | 03:18 |
And if I turn on Enable DLMS preview in
the media browser it said it may be slow.
| | 03:24 |
And that's because it's firing up another
bit of software in the background to
| | 03:27 |
preview the files.
If I turn this on, and click OK, now in
| | 03:31 |
the media browser you'll notice I do have
this Play button.
| | 03:37 |
Now, this is a pretty noisy clip so, if I
click play, (audio playing)
| | 03:44 |
There it is.
Lot's of explosions.
| | 03:45 |
So, I can decide if I want to work with
that media even though traditionally this
| | 03:49 |
would not have been a supported format
and I could just lasso these, drag them in.
| | 03:54 |
And I can work with these as I would any
other kind of file.
| | 04:00 |
So that's using the new media browser in
Adobe Audition CS6.
| | 04:08 |
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| Storing clips with sessions| 00:02 |
Historically, when saving sessions with
Adobe Audition.
| | 00:06 |
If you had clips open that were not
included in a session.
| | 00:10 |
They would not be stored with it.
So when you next open the session,
| | 00:13 |
they've disappeared.
And I'll just show you what I mean.
| | 00:15 |
I'm going to double-click here on the
files panel.
| | 00:18 |
And I'm going to pick out four bits of
audio, and open those up.
| | 00:22 |
And I'm going to make a new multi-track
session.
| | 00:24 |
I'm just clicking on the multi-track mode
button here.
| | 00:27 |
And because I don't.
Have a multi-track session.
| | 00:29 |
Audition's going to come up saying, well,
you ought to make one.
| | 00:32 |
I'll put this in,
Oh, let's put this in with our other
| | 00:36 |
content here.
And let's have this in with our project
| | 00:40 |
files, so you can work with it, too.
And there we go.
| | 00:48 |
And let's call this not linked session.
Okay, that'll do.
| | 00:55 |
And I'll just put these audio files up in
there.
| | 00:58 |
Great.
So, now I'm scrolling with the mouse to
| | 01:01 |
shrink down my tracks by hovering the
mouse over the track headers.
| | 01:04 |
And you can see there are my four bits of
audio.
| | 01:07 |
Now, if I double-click again, now I'm
going to scroll a bit further.
| | 01:11 |
And I'm going to pick up these two
electric guitar.
| | 01:13 |
stems, and click Open.
Now, these are in the project, but
| | 01:18 |
they're not in my session.
I'm going to save with Ctrl+S, or Cmd+S.
| | 01:23 |
And then I'm just going to select
everything and hit the Delete key, and
| | 01:26 |
remove it.
So I'm back to a starting point.
| | 01:28 |
So of those six items in total, only four
of them were in my session, so if I
| | 01:33 |
double-click, and I browse back to that
session.
| | 01:39 |
And go, I'm going to select it, and click
Open.
| | 01:42 |
I only have the four clips.
I don't have the two items that I didn't
| | 01:47 |
originally include in the session.
Which is a bit of a pain, because you
| | 01:52 |
might be in the process of developing
complex multi-track.
| | 01:56 |
And then of course it's time for dinner,
it's time to go to a party, you need to
| | 02:00 |
go out.
You quit out of Audition and all of
| | 02:03 |
those, as yet, undecided, unresolved
files have disappeared.
| | 02:07 |
So let's try this another way.
I'm going to go into the Edit> Preferences.
| | 02:12 |
This would be the Adobe Audition menu on
Mac OS.
| | 02:15 |
And I'm going to go to multi-track.
Under Multi-Track Preferences, you can
| | 02:22 |
see I have this new option in Audition
CS6, Reference All Open Audio And Video
| | 02:26 |
Files When Saving Sessions.
You get a little tool tip that explains it.
| | 02:31 |
I'm going to turn that on.
I'm going to click okay.
| | 02:33 |
Let's import those two pieces of audio
again.
| | 02:38 |
Let's go back.
Here we go, Audio Files> Electric Guitar> Open.
| | 02:47 |
And there they are.
We are going to save again with Ctrl+S or
| | 02:49 |
Cmd+ S.
Now let's select all of these and hit Delete.
| | 02:55 |
And by the way, you'll notice that I tend
to import by double-clicking in this
| | 02:58 |
large area of the files panel.
It is same as clicking on these two
| | 03:02 |
buttons, but I like the big area for me
to click on.
| | 03:06 |
It means less aiming.
So, I'm just being a little bit lazy.
| | 03:10 |
So here we go.
Here's my not-linked session, but of
| | 03:13 |
course now the linking is turned on.
I'll click Open, and there they are.
| | 03:18 |
Those are the two items that not yet in
my session, but they are associated, if
| | 03:22 |
you like, with the session.
And then this way.
| | 03:26 |
Audition behaves much more in the way
that something like a non-linear editing
| | 03:29 |
system would behave.
Avid, Media Composer, or Premier Pro, or,
| | 03:33 |
or even Final Cut Pro.
They'll all allow you to store items in
| | 03:36 |
your, it would be the Project panel in
those applications, Files panel in
| | 03:40 |
Audition, that you haven't yet
incorporated.
| | 03:45 |
Into your work.
So, it's a very useful tick box that's
| | 03:49 |
been added with Audition CS6.
| | 03:53 |
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3. Working with Sound FilesWaveform editing enhancements in Audition CS6| 00:00 |
There are some great enhancements for
working in the waveform view in Audition CS6.
| | 00:01 |
here I've got some audio clips.
First of all you can see over in the
| | 00:03 |
files panel, I've got an auto play
option.
| | 00:06 |
And I can select an item and get a
preview of it right away.
| | 00:18 |
And there we go.
(audio playing) (music playing)
| | 00:24 |
>> Auqo is energy.
>> So, and I can set this to loop play.
| | 00:31 |
Let's just stop that.
So very straightforward for quick
| | 00:35 |
previewing items in the Files panel.
There's also a brand new Generate Tones
| | 00:41 |
option, this is under the Effects menu.
And if I go into this panel, you get a
| | 00:46 |
whole set of controls for choosing
exactly the frequency you want.
| | 00:52 |
I'll give you an example here, a bell
preset.
| | 00:56 |
You can specify if you want it to sweep.
You can specify basic frequency, amount
| | 01:00 |
of modulation for that frequency, or if
it's going to modulate, what the rate
| | 01:04 |
will be, the shape of it.
Here I've got a sine wave or I can have triangular.
| | 01:10 |
Let's have a listen to this.
(audio playing) Sounds absolutely terrible and
| | 01:13 |
over on the right here you can see I can
specify mulitple frequencies and combine
| | 01:17 |
these together.
So, if for example, let's have a look.
| | 01:23 |
How about a church organ, and you can see
I've got four different frequencies
| | 01:27 |
working here.
I can play this.
| | 01:31 |
(music playing) Extraordinary.
And you can use these as the basis for
| | 01:38 |
new content.
So, if I click OK.
| | 01:42 |
There we go, I've now inserted this into
my current wave form.
| | 01:46 |
And I can combine it, I can mix paste it.
(audio playing) Do whatever I want with it.
| | 01:50 |
Just undo that.
This new generate tones feature should
| | 01:54 |
not be underestimated.
You can do an enormous amount,
| | 01:57 |
particularly for music production, by
generating your own frequencies and using
| | 02:01 |
them as base notes for you to incorporate
into special effects.
| | 02:05 |
So have a play with this, it's a powerful
new tool.
| | 02:08 |
There's a new feature here in the
waveform editor for skipping over parts
| | 02:13 |
of your media.
This is the skip selection option and if
| | 02:17 |
I turn this on, you'll see, if I just
select a section of my audio here, and
| | 02:23 |
then just start playing.
>> Live as if you were to die.
| | 02:30 |
Learn as if you were to live, live.
>> Of course that doesn't make very
| | 02:34 |
much sense at all.
(LAUGH) So you can see here if you listen
| | 02:38 |
to the entire voice over.
>> Live as if you were to die tomorrow.
| | 02:43 |
Learn as if you were to live forever.
>> So that's the entire piece.
| | 02:48 |
And if you wanted to cut a piece out of
the middle, let me see now.
| | 02:53 |
>> Tomorrow.
>> Let's see.
| | 02:55 |
Live as if.
>> You were to die tomorrow.
| | 02:57 |
Learn as if.
>> So we can maybe, say we are going to
| | 03:00 |
cut that part out and let's see if that
fits together as a sentence.
| | 03:06 |
>> Live as if you were to live forever.
>> I think you should be able to get
| | 03:11 |
the gist there, so what I'm doing is
making a selection that I intend to
| | 03:15 |
delete, but before I even delete it, by
having this Skip Selection option turned
| | 03:18 |
on, it means I can preview whether the
edited version of the audio is going to work.
| | 03:25 |
So now if I hit delete, I've shortened my
audio.
| | 03:28 |
>> Live as if you were to live forever.
>> And I've completely changed the
| | 03:33 |
meaning of that lovely Ghandi quote.
Now I'm just going to undo that so I've
| | 03:38 |
got something a little bit longer to show
you this next feature with.
| | 03:42 |
If I go to the Edit menu, you'll notice
under the marker section here.
| | 03:46 |
I've got several different kinds of
marker available including CD Track
| | 03:51 |
markers because of course we can now burn
CDs from inside of Audition CS6.
| | 03:56 |
Fantastic.
I've also got this Add Subclip Marker option.
| | 04:00 |
There we go.
That's a subclip.
| | 04:01 |
Now, if I go to my Markers panel which is
a new panel here, newly developed in
| | 04:05 |
Audition CS6, you'll see that I've got
the marker type is subclip and I can
| | 04:09 |
click and drag to give this a duration.
There we go.
| | 04:15 |
That's, now I've got a duration.
So what's it for?
| | 04:17 |
Well in Audition, not much.
In Audition, it's just another kind of
| | 04:22 |
marker and I suppose you could use it in
terms of having a different color and
| | 04:25 |
then I suppose that's a benefit, but
where it works is inside of Adobe
| | 04:29 |
Premiere Pro.
This is developing the support for media
| | 04:34 |
generated inside of Audition in Premiere
Pro.
| | 04:38 |
If you put subclip markers onto your
timeline, if I put another one in here.
| | 04:45 |
Let's change that to a subclip, give it a
little bit of a duration, there we go,
| | 04:49 |
that's another one.
If you put these onto your clips in
| | 04:53 |
Audition, because the metadata is carried
with the media, you can then import that
| | 04:57 |
sound file into Adobe Premiere Pro and
it's automatically going to be converted
| | 05:02 |
into a subclip.
So you can have a long piece of audio.
| | 05:09 |
You don't need to break that into
individual files.
| | 05:12 |
You don't need to fragment it.
You can send the whole thing into
| | 05:15 |
Premiere Pro, and automatically subclips
will appear in the bin, ready for the edit.
| | 05:20 |
So it's a lovely little feature that
develops the integration between these
| | 05:23 |
two applications.
Another lovely new feature for working
| | 05:27 |
with multiple file types is in the video
playback.
| | 05:31 |
Now, if we look here, I've got a simple
session.
| | 05:35 |
This is the waveform editing session.
And you can see that I can play through
| | 05:40 |
this and I get pretty reasonable
playback.
| | 05:44 |
>> Energy drink, committed to healthy.
>> But with Audition CS6, we now have
| | 05:49 |
access under the Media Disk Cache >
Preferences, to the dynamic link media
| | 05:53 |
server, which is a more advanced video
playback engine that is used by other
| | 05:58 |
applications in the Production Premium or
Multi-Collection Creative Suite.
| | 06:06 |
So with this turned on, and you can see
we've got the option for the media
| | 06:10 |
browser as well, I'm getting smoother
playback.
| | 06:14 |
I can choose different levels of scaling,
and I can go full screen by pressing the
| | 06:18 |
grave key, it's the one with the tilde on
it.
| | 06:23 |
I can play, and (audio playing) I get smoother
playback and better quality video.
| | 06:26 |
This is thanks to support from the DLMS
feature, the Dynamic Link Media Server,
| | 06:31 |
that's part of the suite.
Another lovely feature is the new
| | 06:36 |
spectral display.
If I bring up this audio pitch file, and
| | 06:41 |
just resize a little bit.
You can see at the top here, I've got two
| | 06:49 |
spectral display options.
I've got show spectral frequency display
| | 06:53 |
and I've got show spectral pitch display.
Pitch display is showing me the tones in
| | 06:58 |
notes rather than in frequencies.
And you can see here, I've got an
| | 07:04 |
indication of the average note at each
part of my audio.
| | 07:10 |
And you can see I've got some harmonics
there, but, as I play this, (music playing) it
| | 07:17 |
sounds pretty awful, but you should be
able to hear a tone in the singer's voice
| | 07:23 |
that's matching the markings that are
here in the pitch display.
| | 07:33 |
So there's some waveform enhancements
when working with Audition CS6.
| | 07:40 |
| | Collapse this transcript |
| Effects enhancements in Audition CS6| 00:02 |
The Effects in Audition CS6 are as fast
and responsive as ever.
| | 00:07 |
It is an absolute pleasure working with
Effects in Adobe Audition.
| | 00:11 |
And there's a couple of nice new features
as well in this release that I'd like to
| | 00:14 |
show you.
Let's take for example here, I've got
| | 00:19 |
some classic electronic organ.
(music playing) So let's say I think that's
| | 00:26 |
amazing, it's awesome, but I really need
to put some parameter EQ on it, so I'm
| | 00:30 |
going to go to my Effects rack and I'm
going to go to my Filter and EQ.
| | 00:35 |
I'm going to choose Parametric Equalizer.
And this is going to bring up a pretty
| | 00:38 |
familiar looking interface.
You can use Presets.
| | 00:41 |
And along the bottom here, I've got
frequency.
| | 00:44 |
And along the vertical axis, there's my
decibel cut or boost.
| | 00:49 |
And over on the left, you can see there.
So I can make adjustments to this.
| | 00:52 |
And what's lovely about working with
Audition is I can just press play.
| | 00:56 |
(music playing)
And as this is playing, I can be making
| | 00:59 |
adjustments (music playing) to my effect.
And just listening live to the results of
| | 01:04 |
my adjustment.
I've successfully ruined that audio.
| | 01:11 |
Nice.
Okay.
| | 01:13 |
What is interesting, though, is at the
top right-hand corner here.
| | 01:15 |
Now we've got a little information button
to take you into the help.
| | 01:18 |
But right next to it I've got this new
Channel Map Editor button, and you'll
| | 01:21 |
find this on just about every effect in
Audition CS6.
| | 01:25 |
So in this case I'm working with stereo
audio and I'm outputting, this is a
| | 01:29 |
stereo effect so my left channel's going
to left and right's going to right,
| | 01:32 |
that's all very straightforward.
But if I want to, I can change this very easily.
| | 01:38 |
For example, I can switch these around.
So now my left channel's going to right,
| | 01:44 |
my right channel's going to left.
Or I can just say I only want to take the
| | 01:48 |
right channel.
I'm not going to do anything with the
| | 01:51 |
left channel, at all.
And I'm just going to take my right
| | 01:54 |
channel and output it to the left
channel, or whatever you want to do is fine.
| | 01:58 |
Now, this allows you to get a bit more
(UNKNOWN) click control over the use of
| | 02:02 |
audio channels.
For your effects, and if you wanted to,
| | 02:06 |
if you had the patience, you could apply,
for example, three sets of a stereo
| | 02:10 |
effect to a 5.1 original piece of audio
and use the same effect on all six channels.
| | 02:17 |
You just choose the channel you want in
this channel map, so that's a new feature
| | 02:21 |
in Audition CS6.
And there are a couple of nice new
| | 02:26 |
effects as well.
Let me just turn that effect off for a second.
| | 02:31 |
Here under the Stereo Imagery category,
I've got a Graphic Phase Shifter, and if
| | 02:36 |
I just reset this so you can see the
fault along the bottom edge of this, I've
| | 02:40 |
got my frequency range.
And on the right edge, I've got phase.
| | 02:47 |
The timing of the phase.
Now, the way that that phase is measured
| | 02:51 |
is in degrees.
And phase is the precise timing of the
| | 02:55 |
high pressure and low pressure waves of
air that move from the source.
| | 03:00 |
Perhaps it's the speaker, perhaps it's
someone's voice, to your ear.
| | 03:04 |
It's the energy wave that's moving
through the air.
| | 03:06 |
And there's a high point and a low point
to that energy wave.
| | 03:09 |
That's why we get wave forms.
To measure them.
| | 03:11 |
So here, I can make adjustments to the
phase.
| | 03:14 |
Not to just the entire clip.
I can do that in the multi-track display
| | 03:18 |
for an entire track.
But just by clicking a button.
| | 03:21 |
But here, I can make adjustments to
individual frequencies.
| | 03:26 |
And you can really mess around with this
creatively.
| | 03:28 |
I can make this into spline curves.
And make individual adjustments for
| | 03:32 |
particular frequency ranges.
So there's a lot of creative freedom
| | 03:35 |
you've got with this new Graphic Phase
Shifter.
| | 03:38 |
And there's another one if I just get rid
of that as well.
| | 03:42 |
Now the next one is only under the
Effects menu because it has to be
| | 03:44 |
processed as an effect.
You can't do a real time preview of this
| | 03:48 |
as part of the Effects rack.
And that's here under the special category.
| | 03:52 |
We've got a Doppler Shifter.
And again, you see in the brackets there
| | 03:56 |
it's a process effect.
This allows you to fake the Doppler Effect.
| | 04:00 |
Which is the way that frequencies seem to
change.
| | 04:03 |
The phase and the tone seems to change as
an object moves past you or around you.
| | 04:08 |
The movement of the object itself, let's
take for example, a here we go, an
| | 04:12 |
ambulance example.
If an ambulance drives past you at high speed.
| | 04:17 |
As it comes toward you the tone, the
frequency seems to change.
| | 04:21 |
Because, as the vehicle moves It's
shortening the distance between the peaks
| | 04:25 |
and the troughs of those pressure waves
that are created by the siren.
| | 04:30 |
So as the siren is getting closer to you,
it appears to go higher in tone.
| | 04:34 |
That's the beginning of this arrow here.
And then, as it passes you, it seems to
| | 04:38 |
get lower and lower.
So, you've got loads of control here to
| | 04:41 |
apply some creative effects.
And if you go for the.
| | 04:44 |
Circular option.
You can, for example, here you go, merry
| | 04:47 |
go round.
You can have this circle around every 9.4
| | 04:50 |
seconds if you want.
You can specify a velocity, a radius for
| | 04:54 |
the circle.
You're creating a virtual object in space
| | 04:58 |
and having it move around while
generating a sound.
| | 05:02 |
So it's a good way of faking effects for
example if your creating audio for a tv
| | 05:06 |
or film, you can fake special positioning
using this effect without having to go to
| | 05:09 |
the trouble of manually working out where
everything should be.
| | 05:15 |
So that's the Doppler Shifter Effect
again that's under the Effects menu it's
| | 05:19 |
not on the effects rack.
Another nice new feature in Audition CS6
| | 05:24 |
is you'll notice under the Effects list,
we now have support for VST 3 plugins.
| | 05:31 |
It's the latest iteration of the VST
audio plugins, 64-bit native, CPU efficient.
| | 05:38 |
Some nice, new developments in the VST
plugin standard and they're supported by Audition.
| | 05:43 |
And another tiny little thing is of
course.
| | 05:45 |
It's getting increasingly difficult for
people to organize their effects and
| | 05:49 |
locate them.
If you've got a lot of plugins, you can
| | 05:52 |
end up scrolling through quite long lists
to find the item you want.
| | 05:55 |
So, if you look under the Preferences
here, under Effects, Audition CS6 now has
| | 05:59 |
the option for you to choose how your
Effects menu is going to be organized.
| | 06:04 |
It's a small little detail but makes
quite a big difference to have these
| | 06:07 |
enhancements in the interface.
Another development, keeping up with the
| | 06:12 |
technology, is the use of a new loudness
scale.
| | 06:15 |
If I go to my match volume here and throw
a few clips into this panel so I've got
| | 06:19 |
something to match the volume to, now I
can average them, and I can, I can
| | 06:23 |
specify to base the audio on another
clip.
| | 06:28 |
But if we have a look here under the
settings for this match volume panel,
| | 06:33 |
you'll see here under match 2 I can
specify to use the ITU loudness model
| | 06:38 |
rather than any of the other historical
volume measures.
| | 06:46 |
What's interesting about the loudness
scale, is that it's designed to follow
| | 06:50 |
the way your ears actually hear sound.
We hear different amplitudes with
| | 06:54 |
different levels of sensitivity, and
that's all factored into the loudness scale.
| | 06:58 |
In fact, the loudness scale isn't even
measured in d b.
| | 07:01 |
It's not measured in decibels, it's
measured instead in LUFs.
| | 07:05 |
Loudness units.
And again, this is designed to be a
| | 07:09 |
completely separate scale from other
measurements.
| | 07:12 |
It's designed to be following the complex
way in which our ears perceive sound.
| | 07:17 |
In which we pick up sound.
And it's meant to be a universal standard
| | 07:21 |
across all mediums.
Which are based on the way that medium's
| | 07:25 |
going to generate audio for your ears.
So it's a good thing that that's supported.
| | 07:30 |
And that's built into Audition CS6 now.
So that's some highlights of the new Clip
| | 07:37 |
Effect features in Audition CS6.
| | 07:42 |
| | Collapse this transcript |
| Using multiple clipboards| 00:02 |
One of the lovely features we've now got
back in Audition CS6 is the ability to
| | 00:06 |
use multiple clip boards.
And I'll show you how this works.
| | 00:11 |
We're going to double-click in the Files
panel here, and import this.
| | 00:15 |
Drink WAV file.
Let's open that up.
| | 00:18 |
That's in the audio files part of the
project files.
| | 00:22 |
And let's just take a little listen to
this.
| | 00:25 |
Drink to me only with thine eyes and I
will pledge with mine, or leave a kiss
| | 00:30 |
within the cup and I'll not ask for wine.
Drink to me on.
| | 00:37 |
So, this is a famous poem.
Part of Ben Johnson's song to Celia, I
| | 00:44 |
think it is.
And let's say, just for experimental purposes.
| | 00:49 |
Let's say I'm going to take this section
here.
| | 00:51 |
I'm just going to use my scroll wheel to
zoom in a little bit.
| | 00:54 |
I've got the word cup here.
Cup, okay and maybe I'm just going to
| | 01:00 |
select this with my I-beam.
Let's have a listen cup and.
| | 01:08 |
Okay.
And I'm going to check under my Edit
| | 01:12 |
menu, and I'm going to choose Set Current
Clipboard and I'm going to make sure I'm
| | 01:16 |
on clipboard number one.
And you can see that there's a keyboard
| | 01:21 |
shortcut here, this would be Cmd 1 on a
Mac, I'm on a PC now, so it's Ctrl 1.
| | 01:27 |
And all I have to do is press command or
control C, and I've copied that word.
| | 01:32 |
If I just skip to the end of my audio
here and press Cmd or Ctrl V, I'm going
| | 01:37 |
to get that word again.
Cup.
| | 01:40 |
And again.
Cup.
| | 01:42 |
And again.
Drink to me.
| | 01:46 |
If I go to the end.
Cup there we go.
| | 01:50 |
So, but what if I want to take a
different part of the audio?
| | 01:54 |
Here I've got this section where the
voice is saying for wine.
| | 01:58 |
For wine cup.
So if I select this audio and now I'm
| | 02:02 |
going to copy it, but I'm going to copy
it into a different clipboard.
| | 02:08 |
So I'll go into the menu, so you can see
me do it.
| | 02:10 |
Normally, I would use the keyboard
shortcut.
| | 02:12 |
I'm going to choose clipboard number two.
This time again I'm going to press Ctrl
| | 02:16 |
or Cmd C.
Of course, I could also go to the Edit
| | 02:18 |
menu and choose Copy here.
I'm going to go to the end.
| | 02:23 |
I'm pressing the end key on my keyboard,
and now when I press Ctrl V, for y, I've
| | 02:27 |
got that different selection, which you
would expect.
| | 02:32 |
So now I've got cup for y.
Okay, it's not perfect timing but you get
| | 02:38 |
the gist.
If I press Ctrl or Cmd V again, let's
| | 02:41 |
draw them out a bit.
I'm going to get the audio again but
| | 02:44 |
here's the magic of multiple clipboards.
If I now press Ctrl or Cmd 1, or if I go
| | 02:49 |
to the Edit menu, and choose Set Current
Clipboard and choose number 1, now, when
| | 02:53 |
I paste.
I get, the word cup.
| | 02:59 |
Cup.
So, I can use up to five clipboards to
| | 03:02 |
store different pieces of audio but, I
want to combine to produce a new wav form.
| | 03:08 |
Now, this feature will not work in the
multi track display.
| | 03:12 |
If I switch over to multi track and I'll
just temporarily make a new session here.
| | 03:19 |
Let me call this empty session.
OK.
| | 03:27 |
You'll notice, if I go to the Edit menu,
that this, set clipboard option is greyed out.
| | 03:33 |
I can't use it.
This feature is just for the wav form display.
| | 03:36 |
But it's a very powerful one.
Ctrk or Cmd one, two, three, four, five.
| | 03:41 |
And you can put different pieces of your
audio.
| | 03:44 |
To combine across multiple wav form clips
if you want.
| | 03:48 |
| | Collapse this transcript |
| Pitch correction| 00:02 |
There's another new effect that's been
added to Audition CS6, and it's Automatic
| | 00:06 |
Pitch Correction.
Now this is applied as an effect like any
| | 00:11 |
other and then the system will
automatically adjust the tone to match
| | 00:14 |
specific keys in a scale.
I'll give you an example.
| | 00:18 |
We've got a very simple session here,
this session pitch correction.
| | 00:23 |
And you can see we've already got a
marker on it saying help, and you will
| | 00:26 |
very quickly see why or, rather, hear why
when I play this back.
| | 00:30 |
(music playing)
| | 00:33 |
That's just agonizing.
It's it's like me singing Tenacious D at
| | 00:43 |
a karaoke bar.
So what we're going to do is first of all
| | 00:47 |
select the track.
This is our vocals track.
| | 00:50 |
And then I'm just going to use the
effects rack handle here with track
| | 00:53 |
effect selected.
And I'm going to go down to Time and
| | 00:56 |
Pitch and I'm going to select Automatic
Pitch Correction.
| | 01:00 |
There we go, now by default, let me just
pull this over a little bit.
| | 01:04 |
You can see that this is already set to
the major C scale, and it just so happens
| | 01:07 |
that's what this is meant to be.
Even if it's not exactly how it turned out.
| | 01:13 |
So, with this effect applied.
And it, it is already applied.
| | 01:16 |
If I just move this over, you can see,
this is a dynamic real time effect.
| | 01:21 |
I'm going to press play, and let's have
another listen.
| | 01:24 |
(music playing) Much better and you can see there
in this correction display just how much
| | 01:34 |
adjustment is going on.
So, in this panel, you've got some
| | 01:42 |
presets, not many to begin with but of
course, you can make your own very easily
| | 01:45 |
by clicking on the Save Settings as a
Preset button.
| | 01:50 |
You can choose your scale, if it's major,
minor, or a chromatic scale, and then
| | 01:53 |
choose your key.
That's pretty much it.
| | 01:56 |
Choose your reference channel.
Are you going to use the right or left channel.
| | 01:59 |
Of course this is mono so it's not going
to make any difference at all.
| | 02:02 |
You've got your Fast Fourier transform
here.
| | 02:05 |
There isn't usually any need to reduce
the window for the interpretation, but
| | 02:09 |
you, you can try and might get better
results with very fast changing music.
| | 02:13 |
And here, you can see, this is just based
on the key.
| | 02:15 |
What A4 is calibrated to 440 hertz.
In reality, what you're going to do is
| | 02:20 |
put the effect on, choose the scale and
the key, cross your fingers, and hope
| | 02:24 |
that it works as well as it has in this
example.
| | 02:28 |
There is also a manual pitch correction
control.
| | 02:31 |
If I just close this down.
We've got here a manual pitch correction
| | 02:34 |
source WAV file.
If I double-click to open this up in the
| | 02:38 |
waveform view you can see this is just a,
it's a motorbike sound.
| | 02:43 |
(audio playing)
Not much to it, but it's a little bit
| | 02:49 |
flat, and we can add a bit of life to it
using the manual pitch correction control.
| | 02:54 |
Now when you do this, Audition is going
to use this new mode, this spectral pitch display.
| | 03:00 |
And you can see over on the right here
we're getting indications of notes rather
| | 03:04 |
than frequencies.
And we've got a frequency in there, but
| | 03:07 |
it's to give you a sense of the key that
you're working with, the blue line here
| | 03:10 |
indicating the strongest note in the
audio.
| | 03:13 |
I'm going to go to Effects.
I'm going to choose Time and Pitch, and
| | 03:17 |
I'm going to choose the Manual Pitch
Correction.
| | 03:20 |
Now you'll notice this is only available
under the effects list not under the
| | 03:25 |
effects rack.
This is a process effect and as soon as I
| | 03:29 |
turn it on I'm getting this rubber band
that I can adjust for the audio.
| | 03:34 |
And I'm just going to do this pretty
randomly.
| | 03:36 |
I'll just add some, some curve to that.
And maybe if I just right-click here I
| | 03:43 |
can turn it into spline curves.
Give it a little bit of a smoothing.
| | 03:47 |
And let's have a listen to that (NOISE)
Okay so a bit of an adjustment now of
| | 03:57 |
course you could use, I'll just apply
that.
| | 04:00 |
You could use that effect if you were
working with voice, and that's something
| | 04:04 |
that you could achieve good results with,
but it's a lot more work because you're
| | 04:08 |
having to do it note by note.
Coincidentally, if I go back to that
| | 04:13 |
multi-track session and double-click here
on this automatic pitch correction
| | 04:17 |
effect, I can crank up the attack and
crank up the sensitivity.
| | 04:22 |
And this is going to give us a, kind of,
a poptastic effect.
| | 04:28 |
(music playing) And that's a, an effect that pop
singers use intentionally to have a
| | 04:35 |
creative result in their work.
But you maybe will want to make it a
| | 04:41 |
little bit more subtle if you're just
trying to make it sound like somebody
| | 04:43 |
knows how to sing.
So that's Automatic Pitch Correction and
| | 04:49 |
Manual Pitch Correction with Audition
CS6.
| | 04:55 |
| | Collapse this transcript |
|
|
4. Multitrack EditingMultitrack editing enhancements| 00:01 |
There's some great new multitrack editing
features in Audition CS6 and I'd just
| | 00:06 |
like to show you a few that really stand
out for me.
| | 00:11 |
And the first on the list here is side
chaining.
| | 00:14 |
Now, side chaining is where you take the
output or from one effect to the level of
| | 00:18 |
a piece of audio for example, and you
apply it to another.
| | 00:22 |
The classic example would be a radio DJ.
When they speak, the background music
| | 00:27 |
dips, and then when they finish speaking,
the background music comes back up again.
| | 00:31 |
That's side chaining.
And we can do this inside Audition now.
| | 00:35 |
I'll just show you a setup for it.
It's a particular workflow to enable the
| | 00:40 |
side chaining functionality.
So here I've got a piece of piano music
| | 00:44 |
and I've got some voice over playing over
the top of it.
| | 00:47 |
(music playing) And there are probably no awards
for artistic merit.
| | 00:57 |
But you can see the issue here.
We want to get the audio to dip down on
| | 01:00 |
the piano.
And we could do that just by clicking
| | 01:03 |
and, and dragging and adding control
points here in the envelopes.
| | 01:07 |
And that would work fine.
But here's an automatic method.
| | 01:10 |
I'm just undoing there with Command Z or
Controls Z.
| | 01:13 |
Over in my Effects rack for this track
two, I'm going to put on, under the
| | 01:17 |
Amplitude and Compressions settings, I'm
going to put on the Dynamics Processing.
| | 01:23 |
And then at the top here under Presets,
I'm going to choose the Broadcast Limiter.
| | 01:29 |
And this is just going to top out at a
particular level.
| | 01:32 |
And what's special about the effect is
this button up here.
| | 01:37 |
So on the far right we've got an
information button to get help.
| | 01:40 |
And then we've got the channel map
controls for this effect.
| | 01:45 |
But then here we've got set side chain
input.
| | 01:49 |
Now side chains are kind of a little bit
like buses in the mixer.
| | 01:53 |
And I'll show you what I mean in a
moment.
| | 01:55 |
So I'm going to set this up as a stereo
side chain, and then I'm going to close
| | 01:59 |
the effect.
Now over in the mixer, I'm going to just
| | 02:04 |
click down and I'm going to collapse the
faders here to give myself a bit more
| | 02:09 |
room on screen and expand the sends.
So here for my track two I've got that
| | 02:17 |
piano music.
And I've got the effect on there.
| | 02:21 |
If I expand my effect you can see there's
my dynamics processing.
| | 02:25 |
Over here on my track one, you'll notice
that under sends, let me just Scroll up here.
| | 02:32 |
At the moment I've got none, and of
course I could add a bass and I could
| | 02:36 |
create a sub mix and I could send the
audio that way.
| | 02:40 |
That's standard functionality we already
had in the previous version of Audition.
| | 02:45 |
But I've also now got this side chain
option.
| | 02:49 |
And you can see here, I've got the option
to select the dynamics processing effect
| | 02:53 |
that I applied to track two.
So to use the side chaining, you need to
| | 02:58 |
create the effect, first of all.
Now let's have a listen, and see what
| | 03:03 |
effect that has.
>> (music playing)
| | 03:05 |
Live as if you were to die tomorrow.
Learn as if you're to live forever.
| | 03:14 |
(music playing) Okay, so the side chaining effect
is taking the volume of the speech and
| | 03:21 |
using that as a trigger to update that
dynamics processing effect, and that's
| | 03:28 |
side chaining.
Adapting the settings on one effect using
| | 03:36 |
the output volume, the amplitude, from a
piece of audio.
| | 03:41 |
Another nice new feature in Audition CS6
is the newly developed properties panel.
| | 03:47 |
Now, you can select just about anything
using this properties panel and get
| | 03:51 |
information about it.
And each of the headings you can click on
| | 03:55 |
and expand and get access to controls for
your clips including here.
| | 04:00 |
We've got a stretch control that we can
turn off and on for clips that we have in
| | 04:04 |
the editor in the multitrack timeline.
So here under mode I'm going to set this
| | 04:10 |
to a real time stretch.
And as soon as I do that you'll notice
| | 04:15 |
that I've got some new tiny white
triangles at the top corners of the clip.
| | 04:21 |
And I can use these to stretch the
playback speed of that segment.
| | 04:25 |
Now, you'll notice that under the mode
option I've got here the choice for
| | 04:29 |
Monophonic, Polyphonic, and various
speed.
| | 04:32 |
Well, monophonic and polyphonic kind of
make sense.
| | 04:35 |
There's more processing time to work this
out, but if you have Polyphonic, you'll
| | 04:39 |
get better results if you're working with
multi-voice sounds like music, for example.
| | 04:45 |
Vary speed will change the tone, it'll
change the pitch when you change the
| | 04:48 |
duration of your clip.
But here if I want to change the duration
| | 04:52 |
of this piano music, I can just click and
drag and release and it's done.
| | 04:58 |
I've now amended the playback duration.
And you can see, if I go to the advanced
| | 05:02 |
options here, I've got all kinds of
control about how carefully the analysis
| | 05:06 |
is going to take place.
How sensitive to transients the effect is
| | 05:11 |
going to be and how big the window size
would be for the analysis?
| | 05:15 |
The bigger the window size usually the
better the results of the effect, but the
| | 05:18 |
more processing time it takes, because
it's looking at a larger part of the audio.
| | 05:24 |
So, there's a new properties panel and
also, this integrated stretch speed
| | 05:28 |
adjustment control, right on the timeline
there.
| | 05:32 |
Probably the most awesome new feature in
audition CS6 is the automatic speech alignment.
| | 05:41 |
I've got some clips here.
I've got a, an interview with some bad
| | 05:44 |
quality sound that I want to replace.
And I've already got here some
| | 05:49 |
replacement audio for it.
So I'm going to select these three items.
| | 05:56 |
I'm going to right-click on them and I'm
going to choose insert into multi track.
| | 06:01 |
And I'm going to choose new multi track
session.
| | 06:05 |
And let's call this one oh five oh one
multitrack and let's call this alignment.
| | 06:12 |
That's nice and easy to find, okay.
So I've now got three clips here, and if
| | 06:18 |
I expand the video, let's just pull this
up a bit, you can see if I mute the voice
| | 06:23 |
over version.
Just have a look and a listen to the original.
| | 06:30 |
>> Lowell is an energy drink company
committed to health and fitness.
| | 06:35 |
Johanna represents what aqua is all
about.
| | 06:37 |
>> So we've got a bit of a problem
there because we've got a telephone
| | 06:41 |
ringing in the background and we've got
some bad hiss as well, once we get onto
| | 06:44 |
the shots of the cyclists.
So I'm going to unmute this here.
| | 06:52 |
And I'm going to select both these pieces
of audio.
| | 06:56 |
In fact, I can just use the command key
for this.
| | 07:00 |
Then I'm going to right-click or control
click and I'm going choose Automatic
| | 07:03 |
Speech Alignment.
So I need to choose the reference clip.
| | 07:09 |
It's not going to be that aqua voice
over.
| | 07:10 |
That's the studio sound.
I'm going to take the original audio.
| | 07:14 |
You can choose a particular channel if
you want, and of course, that might be
| | 07:17 |
important because it's quite common with
professional cameras in professional
| | 07:21 |
recording to just use one or either
channel.
| | 07:24 |
This is a stereo recording though.
It looks like Dual Mono to me, and then
| | 07:28 |
we've got alignment options here.
Do we want it to be really tightly adjusted?
| | 07:33 |
Do we want to allow some stretching, some
smoothing out?
| | 07:36 |
Or a balance between the two.
I'm going to say, go for smoothest.
| | 07:40 |
And I'm going to say that the original
reference clip is noisy.
| | 07:44 |
Again, that means more analysis.
It's going to take a bit longer.
| | 07:47 |
And I'm going to say that I want the
newly adjusted clip to be added to a new
| | 07:51 |
separate track.
So we can keep the original audio.
| | 07:56 |
Now click Okay, and we'll let the
analysis begin.
| | 07:59 |
That was pretty quick, didn't take too
long.
| | 08:04 |
Just shrink these tracks a little bit.
So here's the newly aligned version of
| | 08:09 |
the audio against the original interview
noise.
| | 08:13 |
I'm just going to solo the newly aligned
version.
| | 08:17 |
And let's have a look and see how that
compares.
| | 08:19 |
>> Lowell is an energy drink company
committed to health and fitness.
| | 08:24 |
Johanna represents what I call.
>> That's kind of spooky.
| | 08:28 |
So one problem with it, of course, is
that we don't have any kind of atmosphere
| | 08:33 |
for the newly aligned audio.
So we'd probably want to go in and maybe,
| | 08:39 |
in the effects rack, throw on something
like, maybe just a reverb.
| | 08:44 |
If we go in here, and, put a full reverb.
Now, this is giving me a warning saying
| | 08:50 |
that this is a cpu intensive effect.
And I shouldn't expect this to give me
| | 08:55 |
real time playback.
In fact, with a reasonably powerful
| | 08:58 |
computer, with Audition 6, I am finding
that most effects of this kind actually
| | 09:02 |
play back just fine.
Here under the presets maybe I'll just
| | 09:06 |
choose the thickener or I could maybe try
the room ambience just to fill out that
| | 09:10 |
voice over a little bit.
>> So it's an energy drink company
| | 09:15 |
committed to health and fitness.
>> And in fact, if I wanted to, if I
| | 09:19 |
was having trouble with playback, I can
always click on this lightning bolt
| | 09:23 |
Pre-render Track icon.
If you turn that on, it means that very
| | 09:28 |
quickly Audition will render this into a
file.
| | 09:32 |
You can continue to make changes.
You're not locked into anything.
| | 09:35 |
But it reduces the load on the cpu for
playback.
| | 09:39 |
Another new feature on the multitrack
editor is a metronome.
| | 09:44 |
You can now turn on a metronome.
And in fact, if I select that track, and
| | 09:49 |
go to my properties panel.
there we go.
| | 09:53 |
Here we are now.
I've got a metronome heading.
| | 09:58 |
So you just need to click on the
background of a session in order to get
| | 10:01 |
access to this control.
And now you can choose the particular
| | 10:06 |
pattern for the metronome.
You can choose the sound.
| | 10:10 |
I've got sticks selected.
And now, as you play, you're just going
| | 10:15 |
hear the metronome, (audio playing), as well.
So, another nice feature built in.
| | 10:21 |
You can turn it off and on very quickly
at the top of the multitrack editor.
| | 10:25 |
And the last item on my top list of new
enhancements in Audition CS6 for multi
| | 10:30 |
track editing is this one.
If you make a new multi track session,
| | 10:36 |
you'll see that we now have templates and
these are all multi track sessions that
| | 10:40 |
have been pre configured to be perfect
for a particular use.
| | 10:45 |
For example, of you're making a surround
sound film sequence.
| | 10:48 |
And you can also create your own.
What you need to do is save your session
| | 10:54 |
and when you do, you have the option to
create it as a template.
| | 11:00 |
So, here under the file menu,
Export>Session as template.
| | 11:08 |
Create a name for the template, and it's
going to appear on the list with all of
| | 11:11 |
the other templates.
So that's my list of stand out new
| | 11:17 |
features for multi track editing in Adobe
Audition CS6.
| | 11:24 |
| | Collapse this transcript |
| Multitrack templates| 00:00 |
Audition CS6 has multiple multitrack
templates and that just means a
| | 00:04 |
multitrack session that has already been
configured with particular track names
| | 00:10 |
and particular effects and even with
particular clips.
| | 00:17 |
I'll show you how to make one and how to
generate your own.
| | 00:20 |
So first of all, here, in the files
panel.
| | 00:24 |
I'm going to click on new item.
And new multitrack session.
| | 00:28 |
And I'm going to give this a name.
So let's call this multitrack template 01.
| | 00:36 |
And I'm just going to pick out from this
Template menu now let's take something
| | 00:43 |
pretty straightforward so you can see
what I mean.
| | 00:49 |
We're going to take something like a
podcast.
| | 00:52 |
And you'll notice the options here for
the sample rate and so on, they're all
| | 00:55 |
greyed out.
And I'll click, OK.
| | 00:58 |
And if I just resize this panel a little
bit, just scroll down a little on here,
| | 01:03 |
you'll see that all of these audio tracks
have automatically been named.
| | 01:09 |
So I've got host, interviews, sound
affects, music band, and then my master.
| | 01:13 |
And if we look under the mixture, you'll
notice that I've already got some affects.
| | 01:17 |
Here I've got a speech volume leveler
that's already been applied, that's on
| | 01:21 |
the host and the interviewer.
And then for sound effects we've got some
| | 01:25 |
dynamics processing.
There's a parametric EQ.
| | 01:28 |
And there's a limiter on the music.
These are just effects that have been put
| | 01:32 |
onto the tracks in advance for use in
this template.
| | 01:35 |
So any audio clips that you put onto
these tracks are going to be affected by
| | 01:39 |
those effects.
And you're ready to go.
| | 01:42 |
This really just exists to save you some
time when you're creating new multitrack sessions.
| | 01:49 |
You'll notice we've even got some markers
here as well.
| | 01:53 |
Already set up and named to give you an
intro and an outro.
| | 01:57 |
Where the multi-track session template
feature really comes into it's own is
| | 02:01 |
when you create your own, so I'm going to
select the session.
| | 02:05 |
I'm going to hit the Delete key and I'm
going to import some music.
| | 02:09 |
I've got these eight bits of audio here.
I'm going to open these up, okay.
| | 02:14 |
Just let, Audition cache those MP3 files.
Great.
| | 02:22 |
Now I'm going to create a new multi-track
session.
| | 02:25 |
And I'll call this one, let's have a
Multi-track Template 02.
| | 02:34 |
And I'll just call this Music.
And this time I'm going to not choose a template.
| | 02:42 |
And I'm going to go for 44.1 kilohertz
audio, 32 bit floating point is fine and
| | 02:46 |
I'm going to master the stereo that's
okay.
| | 02:51 |
So I've got a bunch of tracks here,
automatically, I'm just going to lasso
| | 02:55 |
all of these items in my Files panel.
And drop them into beginning of this session.
| | 03:03 |
You'll notice that I didn't have enough
audio tracks.
| | 03:06 |
But Audition's automatically added them
for me.
| | 03:08 |
Now I'm going to start clicking on the
names.
| | 03:11 |
So, let's see now.
We've got electric bass.
| | 03:17 |
And we've got, bass synth.
And we'll go for drums, hats, and so on,
| | 03:26 |
and so on.
Now we're probably going through all of these.
| | 03:34 |
I'm sure you can work this out for
yourself.
| | 03:37 |
If I wanted to, I could expand.
I am just using the mouse wheel here, I
| | 03:41 |
could go into my effects.
I could put some effects on each of these tracks.
| | 03:46 |
And let's imagine that I'm producing a
series of tracks that are by the same
| | 03:50 |
band, and it's the same instruments.
And I want to be able to recreat the
| | 03:54 |
mulit-track session for each of the
tracks that are going on the album.
| | 03:58 |
I could duplicate a session, but this way
I'm creating a template for use on
| | 04:02 |
multiple occasions.
It' very, very straightforward.
| | 04:06 |
So I'm going to go to file and I'm going
to choose Export and Session as template.
| | 04:12 |
You'll notice that there's a default
location.
| | 04:14 |
And here I'm on a PC so it's going to go
on the C drive.
| | 04:17 |
On a Mac it's going to go in your
Macintosh hard drive, in the Library with
| | 04:20 |
your other user items.
And I'm going to call this.
| | 04:23 |
Our music, just so it's nice and clear.
You've got the option to include markers
| | 04:28 |
and other metadata.
I don't need that because I haven't put
| | 04:31 |
any markers in, along this session but
you could, of course.
| | 04:35 |
Okay, I'm done.
I'm now going to select all of these and
| | 04:37 |
hit the delete key and remove everything.
I'm going to say no to all, I don't want
| | 04:41 |
to save any changes.
I don't need to because if I now go to
| | 04:44 |
the new item button and choose new
multi-track session.
| | 04:49 |
On the template.
There we go, Our Music.
| | 04:53 |
I'll call this Our Music Session and the
location's fine.
| | 05:00 |
I'll click OK.
And notice that as well as opening up the
| | 05:03 |
session with the names of the tracks
already set, we've also got these audio
| | 05:08 |
items that were originally inside the
multi-track session.
| | 05:14 |
So, this is a fantastic way of saving
time when you're creating new sessions
| | 05:18 |
with Adobe Audition but be aware that if
you have any audio in the session when
| | 05:21 |
you turn it into a template, it's going
to be included as well.
| | 05:26 |
This might be exactly what you want, and
I think that it's great that the feature
| | 05:29 |
works this way.
But just be aware that you need to select everything.
| | 05:34 |
And remove it.
See I made a selection there with the
| | 05:39 |
wrong tool.
Let's select with my proper selection tool.
| | 05:44 |
Remove those, and then Save this as a
template.
| | 05:49 |
And you'll just have things configured
exactly as you want them.
| | 05:52 |
So that's working with multi-track
session templates in Audition CS6.
| | 06:01 |
| | Collapse this transcript |
| Clip grouping and multitrack trimming| 00:02 |
I'd like to take a moment to show you a
few of the new features that relate to
| | 00:06 |
working with multiple clips in the
multitrack view.
| | 00:10 |
But let's just take a look at the new
controls for grouping clips.
| | 00:14 |
And then maybe take a look at the new
trimming controls.
| | 00:16 |
So I've got a very simple session here.
I've got 1, 2, 3, 4, 5 bits of audio
| | 00:22 |
lined up on multiple tracks.
And let's say for whatever reason, I feel
| | 00:27 |
that I want to be able to move these
around separately.
| | 00:31 |
Just to illustrate what I'm going to do,
I'm going to move one of these down a
| | 00:34 |
track, so we've got a gap between these.
If I want to group them together, all I
| | 00:39 |
have to do is select them.
I've just got the Regular Selection tool
| | 00:42 |
here, the Move tool.
And I'm going to right-click.
| | 00:46 |
And then, down here, under groups, I've
got group clips.
| | 00:51 |
Now, before I choose this option, I want
to quickly run over this menu.
| | 00:55 |
Because there's some really nice
implementation here for grouping clips
| | 00:58 |
inside sessions.
First of all, Control G, or that would be
| | 01:02 |
Command G on a Mac, is going to group the
clip.
| | 01:06 |
And then we've got Suspend Groups, which
is Control or Command Shift G.
| | 01:10 |
Now Suspend Groups isn't going to stop
the clips being grouped together.
| | 01:14 |
It's just going to temporarily stop the
grouping being applied.
| | 01:18 |
Let me give you an example.
So I'm going to group clips.
| | 01:20 |
You can see they've taken on a new color,
and if we look in the properties panel
| | 01:24 |
over on the left you can see that now if
I click away, I'm seeing the properties
| | 01:28 |
for the session.
And if I click on any one of these clips,
| | 01:33 |
I'm now seeing the group settings.
So I can look to these in time, I can
| | 01:37 |
turn on looping and so on.
You can see I've got the group clips tick
| | 01:41 |
box on there, so if I remove that tick
now they're not grouped.
| | 01:46 |
I can move them individually, and if I
now select them again I can turn group
| | 01:51 |
clips back on.
So I've got a new color.
| | 01:55 |
Audition is giving a new color each time
that you create a group.
| | 02:00 |
I can also click on this color and assign
whichever option I want.
| | 02:04 |
So here I can go for a cyan blue, and
this is very useful when you're working
| | 02:08 |
with more complex sessions.
Particularly if you want to identify
| | 02:12 |
groups of particular instrumentation.
Now that I've got these clips grouped, if
| | 02:17 |
I right-click again and go down to the
Groups option, you can see I've got the
| | 02:21 |
Suspend option.
I've also got the option to remove the
| | 02:26 |
focus clip from the group.
And what that means is that, although
| | 02:30 |
it's not super clear from the display,
one of these clips is the focus clip.
| | 02:36 |
You can probably see, if I just select
one of these, it's this drum hat six
| | 02:39 |
clip, or now it's the guitar one to four.
It's got a slightly different header at
| | 02:45 |
the top of the clip.
It's pretty subtle but it's there.
| | 02:48 |
So If I go back to Groups, I'm right
clicking here, and choose Remove focus
| | 02:52 |
clip from group, now you'll see the other
clips are still in the group, but this
| | 02:56 |
one's excluded.
You can also see if I right-click again,
| | 03:01 |
and go to Groups again, I can suspend,
which I mentioned before.
| | 03:06 |
If I suspend.
Let's say I just knock one of these clips
| | 03:09 |
along the Timeline a little bit.
I can then Right Click on any one of
| | 03:14 |
these Clips and go back to Groups and
Remove this Check from Suspend Groups.
| | 03:22 |
And now, you can see the Grouping is
still Applied.
| | 03:25 |
So I can Disable or Enable the mode, if
you like, of Groups being applied.
| | 03:30 |
Now, of course, these are all going to
move in unison.
| | 03:35 |
And of course if I go back in I can go
back to groups and ungroup the selected clips.
| | 03:41 |
And now I can move this back over.
Of course, here I'm working with a very,
| | 03:45 |
very simple session, but if you're
working with a more complex session, the
| | 03:49 |
new grouping controls are really really
excellent.
| | 03:54 |
And notice that there was a gap between
these.
| | 03:57 |
They don't have to be contiguous items in
the session.
| | 04:00 |
You can have them separated across space
and time within the session.
| | 04:05 |
Notice as well that these clips all end
around about the same time.
| | 04:10 |
If I just zoom in a little bit over the
end here, and maybe just scale up a
| | 04:14 |
little, you can see the waveforms are all
running out.
| | 04:18 |
So, I don't really need this end piece
for any of the clips.
| | 04:21 |
And there's a new feature in Audition
CS6 That allows you to Trim all of the
| | 04:26 |
Clips that you have Selected to a
Selection.
| | 04:30 |
However, you need to go about this in a
particular way.
| | 04:32 |
If I use this regular Move Selection tool
and Select these Items, I'm just going to
| | 04:37 |
Shrink these a little bit more.
So I can see them all at once.
| | 04:43 |
That'll do just fine.
I'm just using the mouse wheel here over
| | 04:46 |
the track headers.
If I select all of the clips this way,
| | 04:49 |
now, if I right-click, you'll see that
I've got this trim to time selection.
| | 04:55 |
It's alt T, is the keyboard shortcut, or
option T.
| | 04:58 |
You've got the option, but it's greyed
out.
| | 04:59 |
And the reason is because I haven't
actually made a time selection.
| | 05:02 |
So what you need to do, is use the time
selection tool, this ibeams.
| | 05:08 |
Keyboard shortcut T.
And treat it as if it were also a regular
| | 05:12 |
clip selection tool.
I'll show you what I mean.
| | 05:15 |
I'm going to lasso across the lower three
of these, and draw out a region in time.
| | 05:21 |
I'm going to cut off the beginning.
Actually, I don't want to cut off right
| | 05:23 |
at the beginning.
You can see that electric guitar clip at
| | 05:25 |
the very top has something there.
So I'll go right to the beginning of the
| | 05:29 |
session, and I'm excluding this error
towards the end.
| | 05:33 |
But notice, I did not drag across the top
two clips.
| | 05:37 |
I just dragged across the bottom ones.
Now, if I right-click inside the
| | 05:41 |
selection, I've got trim to time
selection, and you can see that removes
| | 05:45 |
the end of only these three clips because
I didn't select the ends of the other clips.
| | 05:52 |
If I undo that, with Control or Command Z
and select all of them.
| | 05:58 |
Choose the option again.
You can see I've trimmed all of them.
| | 06:01 |
So it's just a really useful way of
making a selection, and applying it to a
| | 06:04 |
whole bunch of different clip segments in
the session at the same time.
| | 06:10 |
So that's working with groups in
sessions.
| | 06:13 |
And trimming to your selections.
| | 06:16 |
| | Collapse this transcript |
| Hardware controllers and recordable automation| 00:02 |
One of the features I've been waiting for
most eagerly in Audition CS 6 is this one.
| | 00:09 |
Automation Control inside of Audition.
But not just automation in terms of
| | 00:14 |
envelopes in the timeline here, in the
Editor.
| | 00:18 |
Yes, I can, if I want.
I'm just zooming in here on my tracks.
| | 00:22 |
If I want to, I can expand the track
controls and I can now make adjustments
| | 00:26 |
here, track bass controls to my audio.
Yes, I can do that.
| | 00:31 |
But I can do it using the audio mixer
with the latch, touch, and write modes.
| | 00:37 |
Hooray, at last.
And if I want to I can go into my
| | 00:41 |
Preferences, and I can go to the Control
Surface Preferences and I can set up a device.
| | 00:49 |
Now, I'm actually using the AC.
iPhone app configured as a Midi device on
| | 00:53 |
Mac OS here, you can do this with Windows
as well.
| | 00:57 |
Now this is creating a virtual desk for
me.
| | 00:59 |
I'm not even connecting via USB.
This is just set up as a Wi-Fi device.
| | 01:04 |
Very easy to set up in the operating
system.
| | 01:06 |
And now I've just told.
Audition.
| | 01:09 |
That this is a mackey type control.
We've got Red Rover support as well.
| | 01:12 |
And if I configure this, I just set up
the controller type.
| | 01:16 |
If I just show you adding another one,
you can see here I've created a network
| | 01:20 |
session to connect this to, in the
operating system.
| | 01:24 |
This isn't something that you configure
in Audition.
| | 01:27 |
First of all you have to set up your
hardware.
| | 01:29 |
And then you're ready to go.
So now, if I want to, I can go into my
| | 01:32 |
button assignments.
And I can assign every button here.
| | 01:37 |
Anything I like, I can match up to a
command inside of Audition.
| | 01:42 |
It's a massive list.
And the application I'm using on the
| | 01:45 |
iPhone actually has a lot of buttons
available.
| | 01:48 |
But I'm just going to keep this really
simple for now.
| | 01:51 |
Now that I have the controller set up,
you can see here in this session, each of
| | 01:54 |
these tracks has been named.
So we've got bass, electric, hammond, and
| | 01:58 |
so on.
And if I just play this back for a moment.
| | 02:01 |
(music playing) So it's a layered piece of music,
lots of different instruments playing.
| | 02:12 |
And if I just go to the mixer, you can
see on each of my channels here, right
| | 02:15 |
now I'm set to read mode, so it's not
really going to do anything to the audio.
| | 02:20 |
But if I just drag the fader there we go
on my iPhone app.
| | 02:27 |
This works on a tablet computer as well
and now I can adjust the individual
| | 02:31 |
levels of the fly.
Now, in this mode I'm not really going to
| | 02:35 |
change the output.
I need to set it to right mode to update
| | 02:39 |
the envelope but, let's say I'll pick a
track that's got a fair amount of
| | 02:43 |
consistent sound on it.
I reckon probably the, Hammond organ
| | 02:49 |
there is probably a good bet.
So here, if I solo this track, and start
| | 02:52 |
playing, (music playing)
You can see I can adjust the overall level.
| | 02:59 |
In fact, if I switch over to the mixer,
you can see, as I drag here.
| | 03:04 |
Now what you can't see is on my
application.
| | 03:07 |
My IOS device, I've got levels being
displayed to this track.
| | 03:12 |
And I've got the names of the tracks
being shared.
| | 03:14 |
Fantastic compatibility now between these
applications.
| | 03:18 |
Now if I go to my Editor panel here.
I'm just going to expand a little bit more.
| | 03:24 |
And down on the track header, I'm
going to expand where it says Read Here.
| | 03:30 |
And now in the previous version of
Audition, this was Read Only.
| | 03:33 |
Which was great, you could get the thetas
to update and adjust their level over time.
| | 03:38 |
But now I'm going to expand this display
and you can see under this latch touch
| | 03:43 |
right menu, I've got the option to show
any of the envelopes that relate to this media.
| | 03:50 |
Here I've got volume display, that I can
add to that if I want maybe I could add,
| | 03:54 |
well let's say I'm going to add Pan.
And now, under this menu, I've got the
| | 03:59 |
option to switch between Pan and Volume
Control.
| | 04:04 |
There you go and there's my volume, and
there's my pan.
| | 04:07 |
So you can add envelopes for anything you
like to a track here.
| | 04:11 |
Just toggle between the option that you
want.
| | 04:14 |
Of course, if I want to, I could set this
to volume, and I could just click and
| | 04:20 |
click and click, and add some envelopes.
There we go.
| | 04:27 |
If I right-click on one of these, I can
choose to have spline curves, so I get
| | 04:32 |
nice curves.
That's fine.
| | 04:35 |
But really, where the power comes in, is
in the combination of an external
| | 04:40 |
hardware device and the audio mixer.
Now I'm just soloing this track, so you
| | 04:45 |
can see this in a nice simple way.
But of course, the benefit of using a
| | 04:48 |
mixer is that you can have multiple
tracks adjusted at the same time.
| | 04:52 |
You can move your fingers in opposite
directions.
| | 04:54 |
Which is something you can't do with a
mouse.
| | 04:57 |
It's a single point of contact.
But here we go.
| | 04:59 |
If I now.
Set my mode to write and start playing.
| | 05:06 |
(music playing) I can start to adjust the level.
(music playing) You can see
| | 05:15 |
(music playing)
| | 05:18 |
The level is changing here for the track
header.
| | 05:20 |
If I stop that, there are my keyframes
added.
| | 05:24 |
I'm just actually going to zoom in using
the new pinch controls on the track pad
| | 05:32 |
of my laptop here.
There we are.
| | 05:36 |
And if I go back to my mixer, you can see
that.
| | 05:39 |
The touch mode, has been selected
automatically now.
| | 05:43 |
It was on write mode.
It was writing keyframes from the beginning.
| | 05:46 |
But once you've added keyframes in that
mode, Audition CS6 is automatically
| | 05:51 |
switching back to the default touch mode.
Here again if I put this on write you can
| | 05:57 |
see if I play (music playing) I can drag the
fader (music playing) up and down using the
| | 06:01 |
remote device.
Absolutely fantastic.
| | 06:08 |
So that's the new Latch touch and Write
mode support.
| | 06:12 |
Added to Audition CS6.
You can now add your envelopes to the
| | 06:18 |
editor using the mouse.
Or if you have a desk you can connect it
| | 06:23 |
up, configure it in Audition, and ride
the audio, and produce a mix on the fly.
| | 06:29 |
| | Collapse this transcript |
|
|
5. Making MusicEnvelopes in the Multitrack Editor| 00:02 |
Audition allows you to adjust clip volume
on a clip segment inside a multi-track session.
| | 00:09 |
And here, for example, I've got, there we
go, my pan controls and my volume control.
| | 00:17 |
And I can just click and drag these
rubber bands and adjust the envelopes
| | 00:21 |
within an individual clip segment.
But Audition CS6 also has new additional
| | 00:28 |
controls for adjusting the envelopes for
your tracks.
| | 00:33 |
I'm just going to undo, I'm just pressing
Ctrl+Z or Cmd+Z back to the default
| | 00:36 |
position here.
And if we look at this track 1 I've got
| | 00:41 |
some guitar solo.
In fact, I'm going to solo this track so
| | 00:45 |
you can hear this.
So here's the original.
| | 00:48 |
(music playing)
And this is a piece of audio that I've
| | 00:52 |
sped up.
I've done a little bit of a time stretch
| | 00:56 |
on it as well, and if we look here.
Now, I've got my four modes along the top
| | 01:01 |
of the multitrack session viewer.
But at the bottom of the track header,
| | 01:06 |
I've got this option that says read.
And this is giving me my latch touch and
| | 01:11 |
write modes, which are now included in
Audition CS6.
| | 01:15 |
And this is particularly good.
Because it means you can ride the audio
| | 01:18 |
using an external.
Physical mixing desk.
| | 01:21 |
And when you make adjustments on that
disk, it's going to update the mixer for you.
| | 01:24 |
So you can ride the audio and add some
keyframe adjustments.
| | 01:28 |
But what I'm interested in doing here is
expanding this Disclosure Triangle
| | 01:33 |
Control so I can now see an independent
track-based volume or, what if I want
| | 01:39 |
adjustment here?
And if we look at the Show Envelopes
| | 01:44 |
menu, you can see that I've just got a
checkmark next to volume.
| | 01:48 |
Which means I'm only going to see the
volume rubber band here.
| | 01:51 |
And under the Select menu, that's the
only option I've got on the list.
| | 01:55 |
But if I add some extra options in, I
could maybe add Pan here, I could maybe
| | 01:59 |
add some of the track EQ here.
You could see all of the options for the
| | 02:04 |
track EQ, This is the parametric EQ, can
be added.
| | 02:08 |
So, I could maybe get my band 3 center
frequency, and I could also add to that
| | 02:14 |
the amount of gain for that.
And what else have I got?
| | 02:20 |
My rack inputs and outputs.
I've got every control that is
| | 02:23 |
conceivable available here.
So now each time I click on one of these
| | 02:27 |
bands, you can see I'm getting the option
to add a keyframe.
| | 02:33 |
And I can adjust it.
So volume, for example, I can click and drag.
| | 02:37 |
And adjust.
There we go.
| | 02:40 |
And maybe pan here.
I'll come a little bit right, a little
| | 02:44 |
bit left.
Let's add some marks.
| | 02:47 |
And under the Select menu now you can
see each of the options that I've put a
| | 02:51 |
check next to is available here.
So I can jump manually between these and,
| | 02:56 |
down underneath this menu you see I've
got the option to clear all keyframes
| | 03:00 |
for that selected type.
I've got the option to protect the
| | 03:05 |
parameter from being adjusted during
automation.
| | 03:08 |
Now that means if I'm using one of these
Latch, Touch, or Write modes, I can make
| | 03:12 |
sure that I don't accidentally adjust a
setting that I don't want to mess with.
| | 03:18 |
Very, very useful if you're in a hurry
and you think there's a danger that
| | 03:21 |
you're going to accidentally press the
wrong button on your mixing desk.
| | 03:25 |
I've also got this standard Next
Keyframe, Previous Keyframe option.
| | 03:29 |
I just set this back to Volume, and make
a couple of adjustments here so you can see.
| | 03:35 |
There you go.
I can now jump between each of those keyframes.
| | 03:41 |
And if I'm on a keyframe, the button in
the middle will remove it.
| | 03:44 |
And if I'm not on a keyframe, the button
in the middle will add one.
| | 03:49 |
This is particularly useful if you want
to use the playhead to synchronize events
| | 03:54 |
between multiple tracks on the timeline.
But bear in mind, if I just zoom out a
| | 04:00 |
little bit here.
Notice how these lines all keep on going,
| | 04:03 |
going, going, going, beyond the end of
the clip segment.
| | 04:08 |
It almost looks a bit like the London
Tube map.
| | 04:11 |
And they go beyond the clip segment
because they're not directly associated
| | 04:15 |
with it.
If I move the clip segment out of the
| | 04:17 |
way, these adjustments still apply.
And in fact, I could put a different
| | 04:21 |
clip up here.
There we go.
| | 04:24 |
Swap these around, and now those
adjustments are going to be applied to,
| | 04:27 |
well, they're applied to whatever is on
that track.
| | 04:30 |
So this is track based audio adjustments.
What's nice in Audition CS6 is that we
| | 04:36 |
have this deep level of control for every
effect that we might apply.
| | 04:40 |
If I just expand this a little further,
in fact if I go up to my effects list
| | 04:47 |
here, and I add something like, maybe a,
a studio reverb.
| | 04:55 |
Let's have a studio reverb.
And I'll just leave those settings as
| | 04:58 |
they are on the default.
But you'll notice that, under my show
| | 05:02 |
envelopes menu, I've now got that studio
reverb, and the various settings that are available.
| | 05:07 |
So if I want to, I can even.
Use this new Rubber Banding Control, this
| | 05:12 |
new Envelopes Control to Adjust
individual Effects that are on the Rack
| | 05:16 |
for this Track over time.
So, that's the new Envelope Controls in
| | 05:22 |
Adobe Audition CS6.
| | 05:25 |
| | Collapse this transcript |
| Time stretching| 00:02 |
Audition CS6 has some really nice
features for adjusting playback speed
| | 00:06 |
inside a multi track session.
Let's take a quick look at how this works.
| | 00:11 |
First of all I have got a really simple
session here with 4 bits of audio and if
| | 00:15 |
I play this back so you can get a sense
of what normal playback speed is (music playing)
| | 00:19 |
back to get a bit of the drums here.
(music playing) Now you'll notice that at the top
| | 00:27 |
right-hand corner of each of these clip
segments, there's a little white triangle.
| | 00:36 |
This Volume Option here is a menu, but
just down from that I've got a Stretch
| | 00:40 |
option, and if I click and drag with that
particular triangle, I'm going to adjust
| | 00:44 |
the playback speed.
Over in the Properties panel, if I
| | 00:49 |
collapse Basic Settings and just scroll
down a little bit so you can see the
| | 00:52 |
Stretch Settings at the bottom.
You can see I've now made an adjustment
| | 00:58 |
to drop this to 55.6% of the original
duration.
| | 01:03 |
And you'll also notice that the stretch
mode has automatically jumped to real time.
| | 01:08 |
If I select another clip here, you'll see
the mode is off.
| | 01:11 |
And if I click and toggle the mode back
to off again, and this group will go back
| | 01:15 |
to its original duration if I want.
Now one of the nice things about this
| | 01:19 |
stretching feature is you can apply an
adjustment to multiple clips at the same time.
| | 01:25 |
So if I select all of these I'm just
dragging across them with this move tool,
| | 01:29 |
I can now click on anyone of these.
And you can see I get a little stop watch
| | 01:33 |
icon when I'm hovering over this
triangle.
| | 01:36 |
And I can click and drag and maybe I'll
bring this back to about 75%.
| | 01:40 |
And now let's play this again.
(music playing) So everything stays insync.
| | 01:45 |
Now, notice that the tone didn't change
when I adjusted the speed.
| | 01:50 |
Audition is automatically compensating
for effectively, the reduction in the
| | 01:56 |
space between the samples.
Which we wouldn't normally produce.
| | 02:02 |
A pitch shift.
But if I expand out these stretch
| | 02:05 |
controls again, and remember I've got all
of these clips selected here, you'll
| | 02:08 |
notice that okay, I've got a real-time
mode, which is what I'm using now.
| | 02:12 |
And this is a reasonably powerful
computer, so it should be okay.
| | 02:16 |
I'll come to the rendered mode in a
moment.
| | 02:19 |
We've also got this option of choosing
monophonic and polyphonic type.
| | 02:22 |
Now essentially this means how hard do
you want Audition to try?
| | 02:26 |
If you're working with complex audio with
multiple voices, then you may find you
| | 02:30 |
get a better result when you choose the
polyphonic option.
| | 02:35 |
To be honest, it doesn't take that long
to switch between the two modes.
| | 02:40 |
And regardless of the audio type I'd be
inclined to try both and have a listen.
| | 02:44 |
You never know until you try it with your
actual audio sources.
| | 02:49 |
Notice also though, that I have this Vary
Speed option.
| | 02:53 |
If I choose Vary Speed, see how the semi
tones adjust here, under the pitch setting.
| | 02:59 |
So I can manually define a duration.
If I'm working on a hours, minutes,
| | 03:03 |
settings and frames duration I can
specify it in time.
| | 03:06 |
Here I'm doing bars and beats.
Or I can specify a percentage, and here
| | 03:10 |
now because I'm in Vary Speed mode.
Audition is going to change the pitch.
| | 03:15 |
So if I play this again.
(music playing) So, all that's happening here is
| | 03:19 |
Audition is removing that compensation
for the adjustment to the samples.
| | 03:25 |
If I switch this back to polyphonic you
can see I'm back to 0 semitones (music playing)
| | 03:34 |
The same playback speed, but it's the
original tonality.
| | 03:39 |
Now as I say, I'm working on a reasonably
powerful computer here.
| | 03:41 |
And this is playing back absolutely fine.
But if you are working on a less powerful machine.
| | 03:46 |
Perhaps you're working on a laptop.
You might want to switch to the rendered version.
| | 03:50 |
And this is a high quality version.
As soon as I do that, you'll notice that,
| | 03:54 |
over each of the clips, I'm getting this.
Time remaining counter.
| | 03:58 |
And I can carry on working and doing
other things in my session, I don't have
| | 04:02 |
to wait for this to finish applying the
effect.
| | 04:05 |
But Audition is now doing a very, very
careful adjustment to the playback speed,
| | 04:09 |
and it's not going to worry about whether
it can play back in real time.
| | 04:13 |
When it's finished, it's going to create
a file which is cashed, it's stored will
| | 04:17 |
the other cashed media files associated
with the session, and it will just play
| | 04:21 |
back like any other piece of media.
And you'll notice at the bottom here
| | 04:26 |
under the, the Advanced Settings, and you
may have these collapsed, so you just
| | 04:30 |
click on the disclosure triangle to
reveal it.
| | 04:33 |
I've got the option to choose high,
medium and low precision.
| | 04:36 |
Frankly I can't think of a situation.
Where you would want to choose anything
| | 04:41 |
other than high quality.
If you were, you might as well choose the
| | 04:44 |
Real Time mode.
And you'll notice also, that we've got
| | 04:47 |
different controls for a transient
sensitivity and window size.
| | 04:52 |
Now, this is a setting that you probably
won't need to adjust these two, they're
| | 04:56 |
to do with how much of the audio Audition
is going to analyze when it's calculating
| | 05:00 |
the effect.
And also, how sensitive it's going to be
| | 05:05 |
to adjustments in tonality adjustments in
the samples.
| | 05:10 |
At the moment 40% is absolutely fine if
you're working with very complex music
| | 05:13 |
with subtle transients between notes.
Maybe a string orchestra or something
| | 05:18 |
like that.
You might want to play with these and see
| | 05:20 |
if you can get a better result.
There we go.
| | 05:23 |
That's done.
And let's have another listen.
| | 05:26 |
(music playing) So, there you have it, that's
working with the new stretch controls in
| | 05:37 |
Adobe Audition CS6.
| | 05:42 |
| | Collapse this transcript |
| The metronome| 00:02 |
Audition CS6 now has a beautifully
implemented metronome.
| | 00:07 |
And let's just have a look at the
controls and how you set this up.
| | 00:10 |
First of all, I've got a session here
called the Metronome.
| | 00:15 |
There's nothing in it, but if we look
under the time panel, now if you don't
| | 00:17 |
have this on screen.
Go to the Window menu and choose Times.
| | 00:22 |
So you can get this up.
In the Time panel, I can right-click and
| | 00:25 |
choose the Time Measurement System if you
like, for my multi-track session.
| | 00:31 |
You'll notice there are some SIMTI
standards here.
| | 00:33 |
So, if you are producing mixes for
television or film, then you've got some
| | 00:36 |
frames per second options.
But we've also got down here bars and beats.
| | 00:41 |
And if we look a little bit further down
again under Edit tempo, I can choose,
| | 00:45 |
this is actually taking me into the
Preferences, I can choose the time signature.
| | 00:51 |
Again, if I wanted to get to this menu
the long way around, it would be under
| | 00:54 |
the Edit menu under Preferences.
This would be under the Adobe Audition
| | 01:00 |
menu on Mac OS.
Now I'm on a time signature of four four
| | 01:05 |
time, so if I go to my Properties panel,
you'll notice that where I've got nothing
| | 01:09 |
selected, I'm getting the properties for
the session itself and down at the very
| | 01:14 |
bottom, I've got metronome as an option.
Now, right now the metronome isn't
| | 01:22 |
displayed but if you look at the top of
the multitrack session editor I've got a
| | 01:26 |
button here to toggle the metronome off
and on.
| | 01:30 |
This just does the same thing as the
button here on the Properties panel.
| | 01:34 |
In fact, I can get access to the same
thing under the multi-track menu.
| | 01:38 |
You've got metronome, and I've got enable
or disable.
| | 01:43 |
What's nice about the implementation of
the metronome, is that it actually
| | 01:46 |
behaves just like any other track.
If I expand this track so you can see the
| | 01:51 |
contents of the header here, you'll
notice that when I've got my effects
| | 01:54 |
displayed, there are all my effects.
I can actually apply effects to the
| | 02:00 |
metronome itself.
Here I've got my inputs and my outputs,
| | 02:03 |
here I've got my sends, I can send the
metronome to multiple other submixes.
| | 02:09 |
And here I've got my simple EQ, I can
actually apply a parametric EQ effect to
| | 02:14 |
the metronome itself.
Still let's have a listen to this with
| | 02:19 |
its default settings.
(music playing) Okay, very straight forward.
| | 02:28 |
And if we look down under the Properties
panel you can see we've got a Pattern
| | 02:33 |
button and the Sound menu.
Under the Pattern option I can choose
| | 02:38 |
what's going to be a downbeat, an upbeat,
a subdivision or nothing at all.
| | 02:44 |
And because I'm on four four time.
I've got these four buttons.
| | 02:47 |
And I'll show you how this looks in a
moment with a different tempo.
| | 02:50 |
If for example I were to set the third
option here to be an upbeat, I'll just
| | 02:57 |
click OK, have a listen, (music playing) go back
in again I can change this.
| | 03:06 |
Maybe I'll have two downbeats.
And no up beats, and two subdivisions.
| | 03:12 |
(audio playing) I think you can see what's going
on here.
| | 03:19 |
Now if I right-click, and choose Edit
tempo here in the Time panel.
| | 03:23 |
And maybe I'll set this to hm, let's go
for.
| | 03:30 |
12 eight time.
There we go.
| | 03:32 |
And I'll go back into my pattern.
You can see I've got all of the
| | 03:35 |
subdivisions available.
So this menu updates automatically based
| | 03:40 |
on the tempo for your session.
And then if you look under sound, I've
| | 03:45 |
got all of these different options.
And obviously Sticks is the most common.
| | 03:49 |
But I can choose a Tabla.
| | 03:50 |
(audio playing)
| | 03:52 |
I could go for cymbals.
(music playing) Or whatever I want.
| | 04:01 |
If you're intending to use the sound
generated by the metronome inside your session.
| | 04:06 |
Something that you're going to keep
there, you've got mute of course, and
| | 04:09 |
solo as well.
But you might decide that you're going to
| | 04:12 |
use the envelopes here in the Multi-Track
Session Editor.
| | 04:15 |
And adjust the Amplitude of this over
time.
| | 04:19 |
See I can drop this down, and play it
back.
| | 04:29 |
(music playing) So if you want to, you really can
incorporate the audio generated by the
| | 04:33 |
metronome procedurally, if you like, into
the rest of our session.
| | 04:38 |
So that's working with the metronome
feature in Audition CS6.
| | 04:47 |
| | Collapse this transcript |
| CD burning and importing| 00:02 |
Yes, you can now import audio from CDs.
You can extract audio and you can burn
| | 00:08 |
your own CDs inside of Audition CS6.
So this functionality's been added to
| | 00:13 |
this version.
And it works really nicely just as you
| | 00:16 |
would hope.
It's very, very straightforward.
| | 00:18 |
If you want to get audio from a CD, start
by going to the File> Extract Audio From CD.
| | 00:25 |
Pretty simple so far.
Now I've got a drive connected here, and
| | 00:28 |
you'll notice if you click on this
Settings button that you can choose your
| | 00:32 |
CDDB server to take information about the
title.
| | 00:36 |
That you've got in the drive.
And you can specify some details here
| | 00:39 |
about how you want the names to be
formed.
| | 00:42 |
And you may find you need to click on
this Retrieve Titles button to get the
| | 00:45 |
data from the server.
If you don't have information here right
| | 00:49 |
away, click the button and everything is
going to be populated.
| | 00:55 |
So you can see here that each of these
items can be adjusted.
| | 00:59 |
And if you want to, you can even play
back a track and check if this is the
| | 01:03 |
audio that you want.
Of course not all CDs are going to have
| | 01:06 |
data associated with them.
So you may have to punch in some names
| | 01:10 |
and put them in yourself.
You'll notice that if I click Play, for
| | 01:15 |
example, here.
I can get a preview off the track
| | 01:19 |
(music playing)
This is the fantastic band of friends of mine.
| | 01:23 |
The Unthanks producing new folk music
from the North of England.
| | 01:27 |
If you decide that you've got the tracks
that you want selected, so you have about
| | 01:31 |
13 tracks.
I can just tick the box, Toggle All,
| | 01:34 |
toggle them all off and off.
I can cancel, I can click OK, if I click
| | 01:38 |
OK Then Audition is going to extract the
audio.
| | 01:42 |
Now of course, you are responsible for
copyright clearances, and laws relating
| | 01:46 |
to copyright vary from territory to
territory.
| | 01:50 |
It's not Adobe's responsibility.
To cover your copyright.
| | 01:53 |
So, make sure that you have the rights to
use the media, that you're bringing into
| | 01:58 |
your mix.
So, I'll just cancel out of here for now.
| | 02:01 |
And let's take a look at making a CD.
Now here I've got some individual stems
| | 02:06 |
that are making up my session.
And let's say I want to put each of these
| | 02:10 |
onto a disc.
I just need to go to the New Item menu>
| | 02:13 |
New CD Layout.
This is going to give me an untitled
| | 02:19 |
layout, so if I select this, I've got a
nice big drop area to put the clips into.
| | 02:27 |
I'm just going to select all of these
pieces of audio.
| | 02:30 |
Now I'm working with MP3s just to make
the files small for, for people to download.
| | 02:34 |
You will probably be using much higher
quality .wavs or .aifs or.
| | 02:38 |
Or whatever you want.
I've just dragged and dropped these in,
| | 02:41 |
and you can see this has automatically
created an order.
| | 02:44 |
I can drag these around, up and down the
list, and change the order they're
| | 02:47 |
going to appear on the disc.
It's pretty much what you'd expect.
| | 02:51 |
There isn't a huge amount of control
about what's going on between the tracks,
| | 02:55 |
but I'm pretty much ready to burn a disk.
If you want to, you can use the new CD
| | 03:00 |
track markers to define regions of a clip
to be included.
| | 03:06 |
If I open up this piano concert that .wav
file for example, I can click up here and
| | 03:09 |
I'm going to press the m key, m for
Marker.
| | 03:13 |
To add a regular marker along the top of
this time ruler.
| | 03:16 |
Now, over in the Markers panel, you'll
notice that I've got a Type menu, right
| | 03:20 |
now, this is a regular cue point.
If I change this to CD track, I'm going
| | 03:26 |
to be able to incorporate it onto my
disc.
| | 03:30 |
However, you can't put a marker with zero
duration on a CD.
| | 03:35 |
It has to have a duration.
You can put one in very easily by just
| | 03:40 |
clicking and dragging on the numbers
here.
| | 03:42 |
And you can see this has split my marker.
I can move this a little bit longer if I like.
| | 03:49 |
If I want, I can click on the name here,
and give this a name.
| | 03:51 |
Let's call this another track.
Just so it's got something that's going
| | 03:55 |
to appear on the disc.
If I now go to my CD layout, and just
| | 03:58 |
double-clicking to open it up.
Well, I'm going to run into a potential problem.
| | 04:03 |
On the Markers panel here, at the top
right you'll see there's a button to show
| | 04:06 |
markers of all tiles.
If I turn that off while I'm looking at
| | 04:10 |
the currently untitled CD layout, well,
I've kind of got a problem because I
| | 04:14 |
can't see the marker that I've created.
For this disk, I need to turn on this
| | 04:21 |
option to see the markers for every
single item that I've currently got
| | 04:25 |
inside Audition.
So, do keep an eye out for this button.
| | 04:31 |
Now, of course, I've got it on.
I can just drag and drop the marker and
| | 04:33 |
the duration is what's going to be used
on the disk.
| | 04:37 |
So in this way you could take an hour
long piece of audio, for example, split
| | 04:40 |
it up into pieces using markers.
And then combine them in any order you
| | 04:44 |
like on your CD.
You don't need to fragmemt it or save out
| | 04:48 |
your file into multiple pieces of audio
in order to split it up in that way.
| | 04:53 |
So there we are, I've got 11 tracks at
the bottom, I've got the total duration
| | 04:56 |
that's going to be taken up, how big the
data is going to be on the disc and at
| | 04:59 |
the bottom right here I've got Burn audio
to CD.
| | 05:03 |
And if I click this, let me put a disc
in, There we go.
| | 05:09 |
And Audition really makes it very clear,
recordable CD media found in the device,
| | 05:13 |
there's my drive.
What do I want to do, do I want to test
| | 05:16 |
the burning of the disk or write the
burning?
| | 05:19 |
Now, I found that historically you'd have
a lot more failures with burning audio
| | 05:22 |
disks and you might want to run a test to
be sure it's going to be okay on an older deck.
| | 05:27 |
But I have to say it's been awhile since
I've had a disk fail to burn, so.
| | 05:31 |
You may not need to worry too much about
that.
| | 05:33 |
But what you might want to consider is
the maximum speed.
| | 05:36 |
My drive would run at 24x speed.
You might want to lower this.
| | 05:40 |
There's a lot of debate whether it's
worth it or not.
| | 05:43 |
It's up to you.
Here I can choose if I want to verify the
| | 05:45 |
CD after it's being burned.
And if I want to eject the CD when it's
| | 05:48 |
being burned.
And I can even burn multiple copies if I like.
| | 05:52 |
I'll just click cancel for now, but if I
click okay this would burn my music CD.
| | 05:57 |
So that's extracting audio from music cds
and burning new music cds with Audition CS6.
| | 06:08 |
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|
|
6. File ManagementBatch process options| 00:02 |
Audition CS6 has a newly developed batch
process panel that allows you to automate
| | 00:07 |
a bunch of things, including the creation
of new file types.
| | 00:13 |
I'm just going to lasso a whole bunch of
items here and drag and drop them into
| | 00:17 |
the batch process panel.
And here at the top we've also got the
| | 00:21 |
option to browse your hard drive and pick
up more files if you want to.
| | 00:24 |
So you could be picking out items that
you're going to use.
| | 00:28 |
Before you incorporate them into a
session.
| | 00:30 |
Then we've got the option to delete the
files that you select.
| | 00:35 |
Or to remove all of the files.
So, pretty straightforward buttons.
| | 00:38 |
Over on the right here, we've got the
option to apply a favorite effect.
| | 00:43 |
Now, these are preset effects that can be
applied.
| | 00:47 |
In the batch process panel.
And there's some pretty useful ones.
| | 00:50 |
like, for example, remove vocals.
Which you can use to produce music you
| | 00:55 |
can use in the background which
originally had vocal content.
| | 00:59 |
And this is possible because, usually the
vocals in music are centered.
| | 01:03 |
Everything is, the phase is equal between
the two channels.
| | 01:07 |
But the other instruments are all over
the place.
| | 01:10 |
So the system simply needs to remove the,
the center part of the audio to give you
| | 01:13 |
the background sound.
That's how quite a lot of karaoke backing
| | 01:17 |
tracks are made.
What I'm interested in, though, is not so
| | 01:19 |
much this Favorite Special Effects list
but more down at the bottom here we've
| | 01:24 |
got an Export Settings button.
If we click this button we get a whole
| | 01:29 |
bunch of additional options.
First of all, we can specify a new file
| | 01:33 |
name because one of the outcomes from
this can be that you generate new files
| | 01:36 |
so we can specify prefix and a post fix.
So, we might say something like New and
| | 01:43 |
then post fix say, maybe the new sample
rate, maybe we've got to 48 kilohertz.
| | 01:49 |
We can also use a template and there are
various conventions for naming here so
| | 01:55 |
you can have each of these.
Generating the file name from different
| | 02:00 |
information associated with the file.
I'm just going to go for the prefix and
| | 02:04 |
postfix option.
Then we've got a location for the files
| | 02:08 |
to go to.
Pretty straightforward, you can Browse,
| | 02:10 |
and we can choose if we want it to be
just next to the original file or even to
| | 02:14 |
overwrite the original files.
Which makes me very nervous and I would.
| | 02:19 |
Never suggest doing that even if you're
in a hurry.
| | 02:22 |
I think it's always better to keep the
originals until you discover for certain
| | 02:26 |
that you don't need them.
Then we've got this conversion option.
| | 02:29 |
So now we can choose a different format.
Lots of different formats that you can
| | 02:33 |
save that to.
We've now got APE file support.
| | 02:36 |
There's AUX support.
So, choose whatever you're going to have,
| | 02:40 |
and we can specify all of the other
settings, we can convert the number of
| | 02:43 |
channels, the sample rates.
Here we can go for our 48 kilohertz, for example.
| | 02:49 |
We can have a quality setting which,
really, just means, how hard is it
| | 02:53 |
going to try to get a good quality
result.
| | 02:56 |
You may need to experiment a little bit
with this depending on your media.
| | 02:59 |
And we can adjust the bit depth.
Let's go for a, let's just go for 16 bit
| | 03:04 |
and number of channels regardless of the
source.
| | 03:08 |
And so on, let's just OK that.
Then down here at the bottom we've got
| | 03:12 |
the option to remove files from panel
upon completion.
| | 03:15 |
So that means they're going to disappear
as they're rendered out which is useful
| | 03:18 |
because you get a visual indication of
what's being done.
| | 03:22 |
We've got the option to close files upon
completion, get rid of them from the
| | 03:26 |
session, and also to include marker and
other metadata information with the newly
| | 03:30 |
created file.
I'll click OK on here.
| | 03:35 |
And now all I need to do is click on the
Run button.
| | 03:38 |
And Audition is going to go right the way
through the list.
| | 03:41 |
And create the new files for me.
So this is a very useful panel if you've
| | 03:44 |
got a lot of different types of media.
And as part of your workflow you want to
| | 03:48 |
standardize the content before you begin
to work on it.
| | 03:52 |
Either within Audition or perhaps if
you're supplying files on, for somebody
| | 03:55 |
else to use as part of an audio
composition.
| | 04:00 |
This allows you to automate the process
of producing your deliverables.
| | 04:04 |
So that's the new batch process panel,
or, I should say, the newly developed
| | 04:09 |
batch process panel in Adobe Audition
CS6.
| | 04:14 |
| | Collapse this transcript |
| Saving, exporting, and file management| 00:02 |
There are some really great new features
in Audition CS6 when it comes to getting
| | 00:06 |
your multi track session back out of the
application into the world to share with people.
| | 00:13 |
I just want to show you a couple of the
things that really stand out for me here,
| | 00:17 |
in this respect.
First of all, one of my big frustrations
| | 00:21 |
working in Audition is that you might
have a number of pieces of audio in the
| | 00:24 |
files panel here, that you're thinking of
using in a session, but you haven't
| | 00:28 |
decided yet.
You need to save the session and then
| | 00:33 |
come back to it later.
But unfortunately, when you open up the
| | 00:36 |
session, all of those additional pieces
of audio that you might have considered
| | 00:39 |
using, they're gone.
They're back on the hard drive and you
| | 00:43 |
need to import them again.
So with Audition CS6, if we look under
| | 00:47 |
the Preferences, under Multitrack, now
I'm on Mac OS here, so I'm looking at the
| | 00:52 |
Audition menu for this.
On a Windows machine you're going be
| | 00:57 |
going to the Edit menu.
But here under multi-track I've got this
| | 01:01 |
fantastic new tick box.
Reference all open audio and video files
| | 01:06 |
when saving sessions.
So this means any items that you've got
| | 01:09 |
in the files panel at the time that you
save a session, those items are going to
| | 01:13 |
come back again automatically if you open
that session.
| | 01:17 |
For me, it's a huge time saver.
I think it's fantastic.
| | 01:20 |
And another nice new feature is when it
comes to exporting your sessions.
| | 01:25 |
So if I export this multi-track session
as a new file, so I'm going to choose
| | 01:32 |
Entire Session and here I've got a few
new options.
| | 01:40 |
So first of all, of course, I can choose
the format.
| | 01:42 |
We've got our Og containers.
We've got APE format, now Flack of course.
| | 01:47 |
And if I want to I can change the sample
type.
| | 01:51 |
So I can choose any of the sample rates.
I can choose to even, and we just expand
| | 01:58 |
these out a little bit.
Here we go.
| | 02:02 |
I can change the bit depth.
So, I'm not tied into the format of my session.
| | 02:09 |
I can change all of these.
But also, if we look under our mix down options.
| | 02:16 |
You can see that I can choose to change
the number of channels that I'm mastering to.
| | 02:21 |
So, at the moment I've got a session
that's mastering to stereo so I'm going
| | 02:25 |
to produce a stereo file but if I want to
I can sum everything to mono if I like as well.
| | 02:32 |
Or I can choose individual track stems.
Of course, right now, I'm working on a
| | 02:36 |
session where there are already stems
anyway.
| | 02:39 |
There are already continuous pieces of
audio but, if I want to I can take
| | 02:42 |
multiple segments, multiple fragments and
flatten those down into stems using this
| | 02:47 |
mix down options menu.
You'll notice at the bottom as well, I've
| | 02:52 |
got this option to embed it, the edit
original link data, into the new files
| | 02:56 |
that are created.
And that's important if you're working in
| | 03:01 |
Production Premium.
Or in the master collection, for that matter.
| | 03:05 |
Because it means that you could be
working on a wav file that you've
| | 03:08 |
produced or an aif or whatever you want
to use, and if you decide that you want
| | 03:11 |
to make changes to the original mix, you
can choose the Edit Original command in
| | 03:14 |
Premiere Pro, for example.
And then audition will open automatically
| | 03:21 |
and you'll have all of the original
components in your session ready to work
| | 03:25 |
on again and export again.
So having the Edit Original Link Data
| | 03:30 |
included in the file is pretty handy.
So that's just a couple of stand-out
| | 03:37 |
features for me when working with
Audition CS6 and saving and exporting and
| | 03:41 |
managing sessions.
| | 03:44 |
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