Adobe AuditionWhat is Audition?| 00:00 | Adobe Audition is an application
used by audio and video professionals to
| | 00:04 | record, edit, mix, and
restore audio compositions.
| | 00:09 | Audio and video professionals use
Audition for visually fixing audio problems
| | 00:13 | like noise and clicks using healing
tools, mixing multiple tracks of dialog,
| | 00:18 | music, and sound effects, enhancing the
quality of audio by utilizing built-in
| | 00:23 | audio effects, and also adjusting
multiple audio clips simultaneously by using
| | 00:32 | Batch Processing Commands.
| | 00:34 | Audition gives you full control of
your audio compositions and allows you to
| | 00:38 | create crisp, dynamic compositions like this.
| | 00:41 | (music playing)
| | 00:49 | In addition to its
editing functionality, Audition also
| | 00:52 | integrates with Adobe Premiere Pro,
which allows you to easily edit audio within
| | 00:56 | your video projects.
| | 00:58 | In short, Adobe Audition provides you
with a set of tools that will allow you to
| | 01:02 | make your audio and video
projects sound their best.
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IntroductionWelcome| 00:04 | Hi! I'm Garrick Chow, and welcome
Audition CS6 Essential Training.
| | 00:08 | In this course, we're going to look at
all the most important things you need to
| | 00:11 | know to effectively use Adobe's
professional level digital audio workstation.
| | 00:15 | I'll show you how to perform common
editing tasks like adjusting amplitude,
| | 00:20 | adding fades, and trimming your clips.
| | 00:22 | I'll take a look at Audition
Specialized Tools for cleaning and repairing audio
| | 00:26 | to remove unwanted sounds you might
have not thought possible to remove.
| | 00:31 | We'll see how to work with the multitrack
editor to combine multiple audio
| | 00:34 | files into a single mix, and we'll
take a look at how to work with video
| | 00:39 | projects, including how to import
videos from Adobe Premiere Pro into
| | 00:45 | Audition and back.
| | 00:47 | All of this as well as plenty of other
topics will be covered as we explore the
| | 00:51 | ins and outs of Adobe Audition CS6.
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| Using the exercise files| 00:00 | If you have a Premium subscription to
the lynda.com Online Training Library,
| | 00:04 | or if you're watching this course on
a disk, you have access to the sample
| | 00:07 | audio and video files I use
throughout this course, and you can use these
| | 00:10 | files to work along with me.
| | 00:12 | I've organized the files
into folders for each chapter.
| | 00:15 | My recommendation is to create a copy
of each chapter's files before you start
| | 00:19 | working along with that chapter.
| | 00:20 | That way you'll always have fresh,
unaltered versions of the files to work with
| | 00:24 | in case you want to start over at any point.
| | 00:26 | On Macs you can hold down the Option
key while dragging a folder to a location
| | 00:29 | like your desktop to create a copy of that file.
| | 00:34 | Alternately, you can right-click a
folder or a file, choose to Copy it, and then
| | 00:39 | right-click in the folder you want to
copy that item to and choose Paste Item.
| | 00:44 | You can do the same things in Windows by
right-clicking a folder, choosing Copy,
| | 00:49 | and then right-clicking and
pasting it to create your copy.
| | 00:54 | Now if you don't have access to the
exercise files, you can work along with
| | 00:57 | your own audio and video files, and you should
still be able to follow along with no problem.
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1. Getting Set Up in Audition CS6Understanding the Audition interface| 00:00 | Let's begin with a tour
around the Audition CS6 interface.
| | 00:03 | This is going to be a brief
overview to get us oriented.
| | 00:06 | We'll be getting much more in-depth
of all these areas in later movies.
| | 00:09 | So basically, Audition is a single
window that's divided into several panels.
| | 00:13 | By default, some panels are displayed
and others are hidden, and you can open,
| | 00:17 | close, and rearrange the panels
however you like and that will usually be
| | 00:20 | dictated by the type of work you're doing.
| | 00:23 | As with other Adobe products, there are a
handful of pre-designed layouts you can
| | 00:26 | start with by clicking the Workspace
menu here at the top of the window.
| | 00:29 | I currently have the default workspace
selected, but each selection opens
| | 00:33 | a different set of panels and
arranges them differently as well.
| | 00:35 | For example, if I were working on the
audio for a video project, I might select
| | 00:40 | edit Audio to Video.
| | 00:42 | Notice that opens among other panels
the Video panel, and that puts it in the
| | 00:46 | top left here, so I can monitor
the video playback as I'm working.
| | 00:50 | Or if I choose Mastering and Analysis,
that opens the Frequency Analysis panel
| | 00:55 | over here on the right and the
Properties panel here on the left.
| | 00:59 | Again, we'll get into the specifics of
various panels as we go along, but for
| | 01:02 | now just bear in mind that the
Workspace menu is here and it can often be a
| | 01:05 | good starting point.
| | 01:06 | Once you have a workspace chosen,
you're free to open and arrange any of the
| | 01:10 | other panels however you like.
| | 01:11 | For example, maybe I use this Diagnostics
panel a lot, and I want it over here
| | 01:16 | on the right group with
the Frequency Analysis panel.
| | 01:18 | So now I've grouped these two together.
| | 01:20 | And you probably notice that when you
drag a panel over another panel you get
| | 01:24 | different areas that highlight.
| | 01:25 | Dragging over the center of the panel means
you want to dock these panels together.
| | 01:28 | So if I drag this down to the center of this
panel group, it gets docked in that one.
| | 01:33 | You can also drag the panel to the top,
bottom, or sides of any other panel group,
| | 01:38 | and that indicates that you want the
panel to be on its own instead of group
| | 01:41 | with the other panels.
| | 01:42 | Now I don't have a lot of screen space
to work with here, but you can see that
| | 01:44 | the Diagnostics panel is
now on its own over here.
| | 01:47 | So if I place my cursor between them, I
can adjust the width of both of panels.
| | 01:50 | Now you can also drag a panel to the
very top or bottom of the Audition window
| | 01:55 | if you wanted to take up the
entire width of the window.
| | 01:58 | So there it is at the top,
and there it is at the bottom.
| | 02:02 | And you can even hold down Command on
a Mac, or Ctrl on Windows, and drag any
| | 02:06 | panel to make it a Floating panel.
| | 02:09 | This panel will now float
above the Audition window.
| | 02:12 | Now because of this freedom to move
panels around, you can see how easy it can
| | 02:15 | be to really make a mess of things.
| | 02:17 | If you return to the Workspace menu
and select one of the defaults here, the
| | 02:22 | panels will be rearranged into
the order for that workspace.
| | 02:25 | But notice if I go back to the
Mastering and Analysis panel layout, it's still
| | 02:29 | using the last configuration
I dragged everything into.
| | 02:31 | To put everything here back into its
original position you have to choose Reset,
| | 02:35 | in this case Mastering and Analysis
from the Workspace menu, and then click Yes
| | 02:40 | to confirm you want to do that.
| | 02:43 | Now if and when you land on an
arrangement of panels that you find really
| | 02:45 | useful--maybe in my case something like
this--you can save that arrangement so
| | 02:51 | you can always call it up again later.
| | 02:53 | Let's go to the Workspace menu
again and choose New Workspace.
| | 02:57 | Then name your workspace.
| | 02:59 | I'll just call it My Workspace and click OK.
| | 03:04 | And now I have a new custom workspace available.
| | 03:06 | So I were to switch to another one, I
could select My Workspace to switch back.
| | 03:11 | Now whichever preset or custom
workspace you come up with you will most likely
| | 03:15 | always be working with a few common panels.
| | 03:17 | I want to switch back to the default
workspace because it uses many of these
| | 03:21 | common panels so we can talk through them.
| | 03:22 | Let's start with the Files panel.
| | 03:24 | This is where you find the files
you have imported into Audition during
| | 03:27 | the current session.
| | 03:28 | It's a way to quickly access the files
that you have brought in but only while
| | 03:31 | Audition has been opened.
| | 03:33 | After you quit Audition, the Files panel
will be empty again when you reopen Audition.
| | 03:37 | We'll get into this more later, but the
Files panel is just for selecting which
| | 03:40 | one of your currently open
files you want to work with.
| | 03:42 | Now don't confuse that with the Media
Browser, which is a panel that lets you
| | 03:45 | browse for and open files
anywhere on your computer.
| | 03:48 | For instance, I might go into my
Macintosh Hard Drive, my Users Folder, my
| | 03:53 | Home folder, and my Desktop, and here I can find
a file that I have sitting on my desktop.
| | 03:58 | Any files that you open
through the Media Browser--
| | 04:00 | I'm just going to double-click it--
those files get added to the Files panel.
| | 04:04 | We'll talk more about different ways to
import content into an upcoming movie,
| | 04:07 | but this is just the one of the ways.
| | 04:08 | The Effects Rack is where you add and
combine Effects Filters to your tracks.
| | 04:12 | We'll have in entire
chapter on Effects a little later.
| | 04:16 | Another commonly used panel is the
Levels panel, which you'll use to monitor
| | 04:19 | your file's volume level, and next to
that is the Selection/View panel where
| | 04:23 | you can keep your eye on your file's
duration or the duration of any selection
| | 04:26 | you currently have.
| | 04:27 | I am just going to make this a little bit
taller so you can actually see those items.
| | 04:30 | There we go! So you can see looking at this
here, I can see that this file is 46 seconds long.
| | 04:36 | In addition to all the panels, you also
find playback controls here and various
| | 04:40 | tools at the top of the screen.
| | 04:42 | Now the area of the workspace where
you'll be spending the majority of your time
| | 04:45 | is here in the Editor area.
| | 04:46 | It actually can be divided into two
sections, but right now I am just looking at
| | 04:50 | one of those sections, and
that's called the Waveform Display.
| | 04:52 | There is also the Spectral Frequency
Display which I can view by dragging
| | 04:56 | the bottom border up.
| | 04:58 | So the waveform Display depicts your
audio as amplitude measured in dB or
| | 05:03 | decibels here on the right.
| | 05:05 | Basically, it shows your audio file in
terms of how loud or soft its volume is
| | 05:08 | throughout the file.
| | 05:09 | The Spectral Display down here shows
the exact same file, but displays it
| | 05:13 | in terms of frequency.
| | 05:14 | So higher frequencies appear higher
in this graph and lower frequencies
| | 05:17 | appear lower.
| | 05:18 | The higher the amplitude or
volume the brighter the spot.
| | 05:22 | So louder portions of the file look
brighter and quieter portions looks darker.
| | 05:25 | Both of these ways of looking at your
audio files are incredibly useful and
| | 05:29 | we'll be seeing a lot of both of them in action.
| | 05:31 | Again, you can adjust the size of
the two panels by dragging the border
| | 05:34 | between them up and down.
| | 05:36 | You can hide one or the other by
dragging the bar completely at the top.
| | 05:39 | So you're just seeing the Spectral
Frequency Display or completely down so
| | 05:42 | you're just looking at the Waveform Editor.
| | 05:45 | The scale going across the top of the
screen depicts time, and it applies for
| | 05:49 | both the waveform and the Spectral views.
| | 05:51 | The playhead which you see here shows
you where you are currently in the file
| | 05:56 | and using this you can drag
that around to specific locations.
| | 05:59 | You can also drag your mouse over the
time code down here in the lower left-hand
| | 06:02 | corner to go to a specific point.
| | 06:05 | Generally, any yellow underline
display can be dragged over to adjust.
| | 06:09 | You can also click the time to
type in any specific time code.
| | 06:13 | Now if your mouse has a scroll wheel, you can
use it to zoom in and out of the displays.
| | 06:18 | And that works for both the Waveform
Editor and the Spectral Frequency Display.
| | 06:23 | And you often have to do this to get a better
look at certain sections of your file.
| | 06:27 | You can also use the zoom buttons down
here if you don't have a scroll wheel.
| | 06:30 | The first two buttons let you zoom in
and out of the Amplitude waveform, and the
| | 06:35 | next two buttons are for zooming in and
out of both displays, and that lets you
| | 06:39 | see smaller increments of time.
| | 06:42 | The Navigator Area at the top of the editor
shows you the entire waveform of the file.
| | 06:47 | Notice this area that highlights the part
of the file you're currently looking at.
| | 06:50 | You can drag this area around to look
at other areas of the file, and you can
| | 06:55 | also drag its left and right handles
in and out to zoom in and out of
| | 06:57 | specific parts of your file.
| | 07:00 | This is useful when you want to take
a really close look at a particular section.
| | 07:04 | You can then drag the Navigator
around to look at other areas.
| | 07:08 | To zoom all the way back out, click the
Zoom Out All button down here or the same
| | 07:12 | button is actually found here
next of the Navigator as well.
| | 07:15 | The other buttons here are for zooming
to in and out points, and we'll talk about
| | 07:18 | that a little bit later.
| | 07:19 | And this last button here is
for zooming into a selection.
| | 07:22 | You make selections by dragging to
select that portion of your file.
| | 07:26 | You can then click Zoom to
Selection to zoom in on that selection.
| | 07:31 | Now so far we've been looking at the
way form editor which is for editing
| | 07:34 | single tracks of audio.
| | 07:35 | But Audition also supports multitrack
editing, meaning you can work with
| | 07:38 | multiple audio track simultaneously.
| | 07:40 | I'm going to click Multitrack over here
to switch over to the multitrack editor.
| | 07:45 | Now Audition is asking me to create a
New Multitrack Session since I don't
| | 07:48 | currently have one open.
| | 07:49 | I'm just going to accept the default
settings here and click OK, and now I'm
| | 07:54 | looking at a multitrack session.
| | 07:55 | Because I have the file
open I see it listed here.
| | 07:58 | I've named in Untitled Session 1,
which is the default name.
| | 08:00 | So that's listed here in the Files panel,
and what I see here are individual tracks.
| | 08:05 | You can drag files into them so I can
actually grab this interview file I was
| | 08:08 | working with, drag that on to a track.
| | 08:10 | Now Audition is telling me the
sample rate here is different.
| | 08:12 | We'll get into that a little bit more later.
I'm just going to click OK.
| | 08:16 | And you can see now the
waveform for that track shows up here.
| | 08:19 | Audition actually created a copy of
that file, and this is one I'm looking at
| | 08:22 | here to conform to the specifications
for this particular multitrack session.
| | 08:26 | Now each track has its own set of identical
controls, and we'll get to them later.
| | 08:30 | We still have the time display and the
Navigator across the top of the window
| | 08:32 | here, but there's no Spectral
display in multitrack view.
| | 08:36 | That's only for editing individual tracks.
| | 08:38 | We'll see how easy it is to work
between the two main editing views.
| | 08:42 | So there you have an
overview of the Audition interface.
| | 08:44 | Again, we'll be getting into much
more detail in all of these areas as we
| | 08:47 | continue through this course.
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| Setting up input and output| 00:00 | Now let's take a look Audition's audio
hardware settings to make sure you get
| | 00:03 | sound into and out of it.
| | 00:05 | Now Audition receives and sends
audio from whichever you have selected
| | 00:08 | under your Preferences.
| | 00:10 | This could be your computer sound card,
or it could be an external audio input
| | 00:13 | device that connects via USB, or it
could be any number of specialized audio
| | 00:17 | input devices that are available.
| | 00:19 | You can see these settings on the Mac by going
to Audition > Preferences > Audio Hardware.
| | 00:24 | On Windows you'll go to Edit >
Preferences > Audio Hardware.
| | 00:27 | Now I'd say in many cases you won't
have to make any changes to these settings
| | 00:30 | here, and you'll be able to record
right away since Audition defaults to your
| | 00:33 | system's audio input/output settings.
| | 00:35 | Well, let's take a look at what we have here.
| | 00:37 | The Audio Hardware Preferences look
a little different on Mac and PC,
| | 00:40 | so I'm going to be showing you both,
but on both systems the first item you see
| | 00:43 | here is Device Class.
| | 00:45 | The Mac uses Core Audio, which is OS
X's built-in set of audio services, and
| | 00:49 | that's the only option I have in this case.
| | 00:51 | Let's switch over to Windows.
| | 00:54 | And again, on Windows we go to Edit >
Preferences > Audio Hardware, and for the
| | 01:01 | Device Class, Windows uses ASIO and MME drivers.
| | 01:05 | Now in my case, I only have the MME
driver for this PC, but if you have the
| | 01:09 | choice of ASIO--which stands for Audio Stream
Input/Output--be sure to choose that one.
| | 01:13 | It's a much superior driver that lets
Audition have direct access to your sound
| | 01:17 | card, which in turn
allows for much lower latency.
| | 01:19 | Meaning you'll have less delay
between your input and output.
| | 01:22 | Core Audio allows for the
same thing on the Mac side.
| | 01:25 | Now depending on what you have chosen
under Device Class, you may see different
| | 01:29 | settings below it than what you see here.
| | 01:31 | In some cases the default input and
output settings may be set from here, but in
| | 01:36 | other cases, like if you're using an
ASIO sound card, you may just have a
| | 01:39 | Settings button here which will
open up your devices user interface.
| | 01:42 | But since I have MME selected here on
my PC, I can use my Default Input and
| | 01:46 | Default Output menus here.
| | 01:49 | Now I'm currently using VMware to show
you Windows, which is a Virtual Windows
| | 01:52 | Platform for the Mac which
is why I am seeing this here.
| | 01:54 | But you'll see something similar.
| | 01:56 | You'll see a Line In, or you might see
a Microphone In option here as well, or
| | 01:59 | you may see any USB device you
have connected to your computer.
| | 02:03 | Now with the MME driver and Core
Audio on the Mac, you can also choose your
| | 02:06 | Master Clock settings.
| | 02:08 | And this is for when you may have
other digital hardware connected to
| | 02:11 | your system that you need to make sure stay
synchronized with your computer's hardware.
| | 02:15 | In this case, I can choose
either the Input or the Output.
| | 02:17 | Basically, you're choosing which device
all the other devices are going to sync to.
| | 02:20 | I'll just leave mine set how it is.
Now with the MME driver
| | 02:24 | the next setting you'll
find is the Latency menu.
| | 02:26 | Probably you will often hear about
when discussing digital audio recording is
| | 02:29 | this concept of Latency.
| | 02:31 | Latency is a slight or sometimes
significant delay between input and output.
| | 02:35 | For example, you might be recording a
guitarist, but because of Latency, you
| | 02:39 | hear what he's playing several
milliseconds after he actually plays it, which
| | 02:43 | can be annoying and also make it
difficult to get a good performance.
| | 02:46 | Ideally, you want as little Latency as
possible, and a lot of that has to do
| | 02:49 | with your sound card and
the speed of your system.
| | 02:52 | If you're experiencing Latency while
recording, you can come in here and try to
| | 02:55 | reduce it using this menu here.
| | 02:57 | The lower the number you can select,
the better, but if you lower it too much
| | 03:00 | for your system to handle, you'll
start hearing clicks or audio dropouts.
| | 03:04 | So it will most likely take some
experimentation to find the right Latency
| | 03:07 | settings for your particular system.
| | 03:09 | Now on the Mac side of things--or if
on Windows you're using an ASIO system--
| | 03:13 | instead of Latency you'll have I/O
Buffer Size menu, but it essentially
| | 03:17 | represents the same thing.
| | 03:18 | If you're experiencing Latency on the
Mac or in ASIO system, you can the I/O
| | 03:22 | Buffer here to the lowest possible setting
that doesn't result in clicking or audio dropouts.
| | 03:27 | Again, you'll have to experiment.
Then you have the Sample Rate menu.
| | 03:31 | We'll talk more about
sample rate a little bit later.
| | 03:33 | I'm just going to leave
this the way it is for now.
| | 03:36 | And lastly, I mentioned that you may
have a Settings button if you're using
| | 03:39 | a Mac or an ASIO driver, and clicking it opens
the User Interface for that particular device.
| | 03:44 | In this case, it opens the Audio MIDI
Setup utility on my Mac where I can adjust
| | 03:48 | other settings and configurations if necessary.
| | 03:51 | Okay, so those are the Audio Hardware
Settings in Audition Preferences.
| | 03:55 | Again, you might not have to change
anything in here, but if you do need to make
| | 03:58 | an adjustment, like specify the device
your microphone is plugged into or route
| | 04:02 | your output to a different set of speakers,
connect to your computer, now you know where to do it.
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| Setting essential preferences| 00:00 | Audition pretty much works right out of the box.
| | 00:03 | As soon this has been installed,
you can just start using it.
| | 00:05 | But as you get more familiar with it
and figure out how it falls into your own
| | 00:08 | workflows, you might want to go into
its Preferences and adjust some of them to
| | 00:12 | better suit the way you use Audition.
| | 00:14 | Now, I touch more on specific Preference
Settings throughout this course, but in
| | 00:18 | this movie I'd like to take a look at
some of the Preferences you might be aware
| | 00:21 | of right off the bat.
| | 00:22 | I just have this "interviewmono.wav"
file open for this example.
| | 00:26 | It really doesn't matter what file you're using.
| | 00:27 | So as we've seen, to get to the Preferences
on the Mac, you go to Audition > Preferences,
| | 00:33 | on Windows it will be Edit > Preferences,
and like other Adobe products, you can
| | 00:36 | see the Preferences are organized into
different categories that you can jump to
| | 00:39 | right from this menu.
| | 00:40 | I'm just going to select General,
which opens the Preferences window.
| | 00:44 | As you can see, it's easy to get to
the other Preferences from here as well.
| | 00:48 | Again, with most of these Settings,
you're going to be fine leaving things the
| | 00:51 | way they are by default.
| | 00:52 | But let's take a look at a few of them now.
| | 00:54 | Here in the General category, one
option you might want to adjust is the
| | 00:57 | Zoom Factor Time.
| | 00:59 | This controls how much you zoom in to a
file when using either the scroll wheel
| | 01:02 | on your mouse, if your mouse has one,
or the zoom buttons that you see here.
| | 01:06 | For example, if I drag this to a large
number, say 80%, and I Click OK, notice
| | 01:13 | when I Click the Zoom In
button, it zooms way in.
| | 01:16 | Look at the Navigator up here.
| | 01:20 | And each time I Click, it
zooms in that much again.
| | 01:23 | The same goes if I use the
scroll wheel on my mouse.
| | 01:25 | You can see I'm zooming in
and out very quickly there.
| | 01:27 | Let's go back to Preferences.
| | 01:32 | And I'll just set it back to about 10%.
| | 01:35 | So now, when I zoom in you can see
it's doing so a lot less drastically.
| | 01:39 | I would say your Zoom options really
depends on how you like to work or the
| | 01:42 | job you're working on.
| | 01:43 | If it calls for you to works for very
precisely with small sections of audio,
| | 01:47 | you might want to be able to zoom in
very quickly, or you might want to dial it
| | 01:50 | back if you don't need extreme zooming.
| | 01:51 | Let's go back to Preferences,
and I'll leave mine set to 10%.
| | 01:56 | Another option worth mentioning here
in the General category is the Reset All
| | 01:59 | Warnings Dialog button.
| | 02:01 | As you use Audition, from time to time
you'll get messages that pop up that warn
| | 02:04 | you of the effects at certain Settings
or provide you with information about an
| | 02:07 | action you're performing.
| | 02:08 | You will usually have a chance to tick
a box that says something like
| | 02:11 | "Don't Show this Message Again."
| | 02:13 | If later you change your mind, or you
want to review what a Warning Box said,
| | 02:16 | you can come in here and
click Reset All Warning Dialogs.
| | 02:18 | You'll then see all the default
warning messages start appearing again when
| | 02:21 | you trigger them.
| | 02:22 | All right, let's go to the
Appearance Category next.
| | 02:27 | Here you can select different color
schemes for the Audition interface.
| | 02:30 | Under the Color Section here, you can
see the current default color scheme.
| | 02:34 | waveforms are this greenish
color on the black background.
| | 02:37 | When you make a selection, those
selections are highlighted in white, the
| | 02:40 | playhead is red, and so on and so on.
| | 02:44 | You're free to click on any of these
individual colors and change them to any
| | 02:47 | other color you might like.
| | 02:51 | This might be useful if you have
color blindness issues or just don't like
| | 02:54 | the default scheme.
| | 02:55 | I'm just going to cancel that.
| | 02:57 | You can also select
preset schemes from this menu.
| | 03:03 | And as you can see, any changes you
make in here are applied right away.
| | 03:07 | This Brightness slider affects the
brightness of the entire interface.
| | 03:12 | I'll set that back to 25%.
| | 03:15 | And the Use Gradients Checkbox is
returning the subtle gradient effect that you
| | 03:19 | see in Menus and Panels.
| | 03:20 | I don't know if you can see that
there's a slight gradient in this menu
| | 03:22 | here, but if I check this on and
off, you should be able to see it.
| | 03:26 | You can also change what's
happening in the work area here too.
| | 03:31 | Now, if you come up with the color
scheme that works for you, you can Click the
| | 03:33 | Save button here to save it as a preset.
| | 03:36 | I'm just going to skip that for
now and set that back to default.
| | 03:40 | Okay, moving on.
Let's look at the Audio Channel Mapping section.
| | 03:43 | This is where you specify which
device channels your audio inputs and
| | 03:46 | outputs are sent through.
| | 03:47 | What you see here is going to vary
greatly, depending on which and how many
| | 03:51 | audio input devices you have
connected to your computer.
| | 03:53 | For example, if you have an audio
device that supports 5.1 surround sound,
| | 03:57 | you can map your outputs to the left, right,
center, rear, left and right in subwoofers.
| | 04:02 | So right now, I'm seeing the default
left and right channel audio being input
| | 04:06 | through my default Built-in Lines.
| | 04:08 | The Audio Channel Mapping Preferences
are tied into the Audio Hardware
| | 04:12 | Preferences, and we looked at
those Settings in the previous movie.
| | 04:14 | Let's turn to Media & Disk Cache.
| | 04:17 | When you work with audio files in
Audition, it creates temporary versions of
| | 04:21 | the files, so you can work on them
without damaging or altering your original
| | 04:24 | file until you're safe.
| | 04:25 | Here you'll see the default
location that stores these files.
| | 04:29 | There's generally no need to change
this location unless you have a second hard
| | 04:32 | drive connected to your computer.
| | 04:34 | In that case, it's a good idea to
change that temporary folder to a location
| | 04:37 | other than the drive your
computer's operating system stored on.
| | 04:40 | Working with audio requires a lot of
hard drive access, and you probably don't
| | 04:44 | want to abuse the hard drive that makes
your computer run if you can avoid it.
| | 04:47 | If you have an external or extra
drive connected, you just Click the Browse
| | 04:50 | button, find your drive, and
you will probably want to create a
| | 04:54 | folder--something like
Audition Temp files--and choose that.
| | 05:00 | That can take a lot of
stress off your main hard drive.
| | 05:04 | And if you have a third drive, you can
select a second temporary folder as well,
| | 05:07 | but it's not really necessary.
| | 05:09 | And the last Preference I
want to look at here is Playback.
| | 05:12 | The default Setting here at the top
is Auto-Scroll During Playback and
| | 05:15 | Recording, and you can see that's checked.
| | 05:17 | I'm going to close Preferences for a moment.
| | 05:20 | And now I'm seeing a message telling me
the changes to the disk cache won't take
| | 05:23 | effect until the next
time Audition is restarted.
| | 05:24 | That's fine.
I'll just Click Okay.
| | 05:27 | Now, I'm going to zoom in using my mouse here.
| | 05:28 | I'm just going to zoom in at the
section of audio here, and I'm going to start
| | 05:33 | it playing by using the spacebar on my keyboard.
| | 05:35 | You'll notice that when the playhead
reaches the far right of this area, the
| | 05:39 | view is going to jump to the next
section of the waveform and the playhead will
| | 05:42 | continue to move across the screen.
| | 05:45 | (male speaker: Well, we have one farm in Ojai,
where we've been since 1998, and that is,
| | 05:52 | really, an urban farm.)
| | 05:54 | So this way, you always see
the waveform of the selection
| | 05:56 | you're currently hearing.
| | 05:57 | Let's go back to Preferences >
Playback, and if for some reason you don't
| | 06:03 | want the playback to scroll like that,
you can just uncheck this box, and
| | 06:07 | when you play your file...
| | 06:08 | (male speaker: We are in the city limits--
the last property in city limits--and we're...)
| | 06:14 | ...you can see that
the waveform stays exactly where it is.
| | 06:17 | You can actually see where the
playhead is up here in the Navigator.
| | 06:20 | (male speaker: And we're about one minute
from a giant shopping center.)
| | 06:23 | But my view here stays the same.
I'm going to leave that checked though.
| | 06:29 | Now, there's also the option to center auto scrolling
in both the waveform and Multitrack Editors.
| | 06:34 | What this means is that instead of
jumping to each section of the waveform, the
| | 06:37 | waveform will scroll smoothly and
the playhead stays in one location.
| | 06:41 | So, for example.
| | 06:43 | (male speaker: --the city limits--
the last property in city limits--)
| | 06:46 | You can see once the playhead
reaches the center there, it stays
| | 06:48 | in one place and the waveform moves.
| | 06:50 | (male speaker: --about one minute
from a giant shopping center.)
| | 06:52 | Some people find that easier
to follow than seeing the screen
| | 06:54 | jump each time the playhead
reaches the right-hand side.
| | 06:57 | I'm going to leave the
default Settings there, though.
| | 07:00 | Now, there's also the option here to
return playhead to start position on stop,
| | 07:04 | and all this does is return the playhead
back to where it was when you first hit play.
| | 07:08 | So, for example, if you started playing
10 seconds into your file and played it
| | 07:11 | up to 45 seconds, when you stop
playback the playhead will then jump back to
| | 07:15 | the 10-second mark.
| | 07:17 | This can be useful if you're focused on
working on a specific section and need
| | 07:20 | to keep playing it from the same place.
| | 07:22 | But I find, in most cases, it's more of an
annoyance for the playhead to jump back.
| | 07:26 | I prefer it to stay where it
was when I stopped playback.
| | 07:28 | So I'm going to leave that unchecked.
| | 07:29 | I'm just going to close this.
| | 07:31 | But there's actually a
shortcut to that option anyway.
| | 07:34 | If you're working on Audition and you
need to play it to come back to where it
| | 07:36 | started from as you work, you can
right-click the Play button here and choose
| | 07:41 | Return Playhead to Start Position on Stop.
| | 07:44 | So now, if I play a bit of my file.
| | 07:46 | (male speaker: --and you would never
even know that it was here.
| | 07:48 | Once you're out on the farm, you just
feel like you're in some rural--)
| | 07:52 | When I stop, it jumps the playhead
back to where it started from.
| | 07:54 | I just need to remember to turn
that off when I don't need it.
| | 07:58 | So those are just some of the
Preferences you might find useful to be aware of.
| | 08:01 | Again, we'll be getting into details
with other Preferences throughout this
| | 08:04 | course, but you will also find that
many of them are self-explanatory if you
| | 08:07 | take some time to explore the
different categories on your own.
| | Collapse this transcript |
|
|
2. Importing and Managing MediaImporting audio files| 00:00 | Let's take a look at how to get an existing
file into Audition so you can work with it.
| | 00:04 | As you're about to see, there
are many, many ways to do this.
| | 00:07 | So to start, as with almost all
applications, you can go to the file menu and
| | 00:11 | choose Open from here and then navigate
to wherever the file is stored on your
| | 00:15 | computer to open it.
| | 00:16 | If you're on the keyboard shortcuts,
there's also Command+O or Ctrl+O on Windows.
| | 00:20 | And again, that's pretty
standard across most applications.
| | 00:22 | Let's cancel that for a moment.
| | 00:25 | You could do the same thing from
the Files panel by Clicking the Folder
| | 00:27 | button right here.
| | 00:29 | Again, you can see that
opens the Open File window.
| | 00:33 | But in fact, you don't even have to
Click the Folder button, just double-click
| | 00:36 | in an empty area of the Files panel,
and then you can look for your file.
| | 00:41 | And, by the way, here's the Enable
menu, and here you can see all the file
| | 00:45 | formats that Audition accepts.
| | 00:46 | As you can see, it's quite a few.
| | 00:47 | I'm just going to keep All
Supported Media selected.
| | 00:51 | And I'll navigate that out to my
Desktop here, and I'm going to choose this
| | 00:54 | "interview mono" file.
| | 00:57 | That opens the file in Audition.
| | 00:58 | You can see that it now appears here in
the Files panel, and it's also open in
| | 01:01 | the Editor panel now.
| | 01:03 | So, now I can see it's a waveform,
and if I wanted to I could see it's a
| | 01:05 | Spectral Frequency Display.
And I'm free to play the file.
| | 01:11 | (male speaker: Well, we
have one farm in Ojai--)
| | 01:14 | Now, yet another way to bring a file
into Audition is to simply drag it in.
| | 01:18 | If you have a file sitting on your
Desktop or some open Folder, just make sure
| | 01:21 | you can see the Audition window and the
file at the same time and then drag the
| | 01:26 | file into the Editor panel, if you
want to start working on it right away--or
| | 01:29 | just drag it into the Files panel
just to import it without opening it.
| | 01:34 | And you probably noticed just now that
Audition generated these PKF files, and
| | 01:38 | I'll talk about what
those are a little bit later.
| | 01:40 | So again, drag a file into the editor
area if you want to work on it right away.
| | 01:43 | Drag it in to the Files panel to bring it
into Audition but not open it right away.
| | 01:47 | If you have a bunch of files you're
going to be working with, you could drag
| | 01:49 | them all into the Files panel at once
and then open each one as you need to.
| | 01:53 | So the Files panel shows you all the files
that are currently opened in Audition.
| | 01:56 | To work with any particular file,
you can just double-click it.
| | 01:58 | So if I wanted to work on the stereo version
of this file now, I could just double-click that.
| | 02:02 | I can tell it's stereo because
I see two waveforms here.
| | 02:05 | You can also switch between open documents
using this menu here at the top of the Editor.
| | 02:08 | I have two files open, and
they're both listed here right now.
| | 02:12 | And this might be more useful
if you have lots of files open.
| | 02:14 | It's a little easier to choose a file
from a menu like this than it is to
| | 02:18 | scroll up and down in the Files panel.
| | 02:19 | Now, I think it's important to point
out here that I haven't imported files
| | 02:23 | into Audition or made copies of them
that Audition is storing in a special
| | 02:26 | Folder or anything like that.
| | 02:28 | The version of the files I'm working
on are the exact same files that are
| | 02:30 | sitting out on my Desktop.
| | 02:32 | So if I make any changes to the files
and then Save, I'm going to be saving
| | 02:35 | over the originals.
| | 02:36 | So in some cases, there might be a good
idea to make a copy of a file before you
| | 02:39 | start working on it, just so you have a
backup in case you ever want to or need
| | 02:42 | to revert back to the original.
| | 02:43 | And we'll be talking about how to make
non-destructive edits to your files in
| | 02:47 | this course, but if it's a particularly
important file, it's still always a good
| | 02:50 | idea to have a backup copy of the original.
| | 02:52 | I also want to emphasize that the files
panel just shows you what you currently
| | 02:56 | have open in Audition.
| | 02:57 | It's not a library of
assets that you can draw from.
| | 03:00 | If I quit Audition right now, and I
will, and then I reopen it, notice the
| | 03:07 | Files panel is now empty.
| | 03:08 | It's kind of like closing most Word Processors
while you have a saved document open.
| | 03:12 | When you reopen the Word Processor, you
also have to reopen the document if you
| | 03:15 | want to continue working on it.
| | 03:17 | Now, if I made changes to the files and
I haven't save them, I would have been
| | 03:20 | prompted to do so before Audition quit.
| | 03:22 | I'm just going to go ahead and drag
these two files back in by selecting them
| | 03:26 | and putting them in the Files panel.
| | 03:30 | So when you quit Audition,
it closes your open files.
| | 03:33 | You can also manually close the
files by selecting them and then Clicking
| | 03:36 | the Trash Can button.
| | 03:37 | Now, I kind of don't like that this
is a Trash icon because you're not
| | 03:40 | really trashing the file.
| | 03:41 | It's still sitting out here
on my Desktop, as you can see.
| | 03:45 | All you're doing when you Click the Trash Can
Icon is you're closing that file in Audition.
| | 03:48 | The file itself is still completely
safe where it was originally.
| | 03:51 | And if I wanted to, I can go
back out and drag it back in.
| | 03:58 | Now, I want to address something that
can be a bit confusing about bringing
| | 04:00 | files into Audition.
| | 04:01 | We know that we can choose File > Open
to get to this window to browse for
| | 04:05 | and open the file.
| | 04:08 | Notice we also have File > Import file,
but it's pretty much exactly the same as
| | 04:15 | the Open File window.
| | 04:17 | Similarly in the Files panel, we
have the Open file button as well as the
| | 04:21 | Import file button.
| | 04:22 | But the fact of the matter is that
there really is very little difference
| | 04:25 | between these two options.
| | 04:26 | The only difference between them is that
choosing Open will open the file in the
| | 04:29 | Editor panel so you can immediately
start working on it, while import places the
| | 04:33 | file in the Files panel but
doesn't open it in the Editor.
| | 04:36 | It's kind of how like dragging the file
into the Files panel doesn't open it in
| | 04:39 | the Editor either, but that's pretty much it.
| | 04:41 | That's the only difference.
| | 04:42 | So if you're working on one file and
then remember that you need to work on
| | 04:45 | another file afterwards, you might want
to use the import command to place the
| | 04:48 | second file into the Files panel to
remind yourself to get it to later.
| | 04:51 | But if you're working on one file and
want to immediately switch to working on a
| | 04:54 | second file, use the open command and
it will immediately open in the Editor.
| | 04:58 | That's the only difference between the two.
| | 05:00 | Okay, something else I want to point
out about the Files panel is the bottom of
| | 05:03 | the panel where we have these three buttons.
| | 05:05 | These are used to preview the files.
| | 05:07 | If you have a lot of files, this
could be convenient because that lets you
| | 05:10 | listen to them without having to open them.
| | 05:11 | Just select the file and Click
the play button to preview it.
| | 05:16 | (male speaker: Well, we have one farm
in Ojai, where we've been since 1998--)
| | 05:22 | The middle button here is the
Loop button, which plays the
| | 05:25 | selected file on a continuous loop.
| | 05:27 | That might be useful if you have a
short clip and you're trying to listen for a
| | 05:30 | specific part or point in the audio.
| | 05:32 | And the third button is the Auto-Play button.
| | 05:35 | When you activate this button, it makes it so
simply Clicking any file immediately plays it.
| | 05:41 | (male speaker: Well, we have one farm in Ojai--)
| | 05:44 | This way you don't have to select
the file and then Click the play button.
| | 05:47 | This can make searching through a stack
of files for a specific piece much faster.
| | 05:50 | I'm just going to disable that for now.
| | 05:52 | You probably will be going to turn
off Auto Play most of the time, though,
| | 05:55 | since that can be nuisance to have an audio
file immediately play anytime you Click it.
| | 05:59 | Lastly, I want to point out that
anytime you have a file open, you can see that
| | 06:02 | its main properties appear down
here at the bottom of the window.
| | 06:05 | You can see that the file is 48 kilohertz,
16-bit stereo, it's 8 & 1/2 megabytes
| | 06:10 | in size and about 46 seconds in duration.
| | 06:12 | Over here I can see how much free
space I have in my current hard drive.
| | 06:16 | You can see some additional
properties by opening the Properties panel.
| | 06:18 | If you don't see it, you
can go to Window Properties.
| | 06:21 | It's usually tucked away
here in this default layout.
| | 06:24 | So some additional information
here I can see is the format.
| | 06:27 | It's a WAV file in 16-bit.
| | 06:29 | I can see the path to exactly
where it's located and so on.
| | 06:33 | Okay, so that's the rundown of how to
get an existing file into Audition and how
| | 06:36 | to open it and check out its properties.
| | Collapse this transcript |
| Extracting audio from a CD| 00:00 | In this movie, I'll show you how to
extract audio from an audio CD, because
| | 00:04 | there may be times when you want to grab
a song or some other track like a sound
| | 00:07 | effect that's stored on the CD.
| | 00:09 | And I'm talking here about audio CDs
that are played in standard CD players, not
| | 00:13 | a data CD containing music
files like MP3 or the like.
| | 00:16 | If you have a data CD containing
audio files, you can just copy those files
| | 00:19 | directly off the disc onto your
computer and then open them on Audition.
| | 00:23 | So to extract audio from an audio CD,
make sure the CD is in your computer's
| | 00:26 | optical drive and then choose
File > Extract Audio from CD.
| | 00:31 | This then displays all the tracks on the
CD, and they're all checked by default.
| | 00:35 | Note also that if you have more than
one optical drive connected to your
| | 00:37 | computer, you can select
among them from this menu here.
| | 00:40 | So if you don't see your tracks,
you may want to check another drive.
| | 00:43 | I only have the one in this case.
| | 00:45 | Below that is how fast you want your
drive to rip the CD contents, and you can
| | 00:48 | choose whichever speeds
your drive is capable of.
| | 00:51 | Generally, though, if the audio quality
is of critical importance, you should
| | 00:55 | probably select 1x, which gives you the
best chance of getting the best rip of
| | 00:59 | the audio, because that's
going to do it in real time.
| | 01:01 | But if you're in a hurry, or you
just need to rip a couple of songs, your
| | 01:03 | tracks from the CD to turn into MP3s
or something, you can most likely stick
| | 01:07 | with the maximum speed.
| | 01:08 | If you have a live Internet connection,
Audition will also go online to the CD
| | 01:11 | database servers and try to identify the CD.
| | 01:14 | So in this case, it's correctly
identified the artists, album, genre, and the
| | 01:18 | year of release for this particular
CD--and also list of track names down
| | 01:22 | here as well.
| | 01:24 | And that can make it much easier to
identify the songs if you're only looking to
| | 01:27 | grab a couple of the tracks.
| | 01:29 | You can also Click the Play button next
to any one of these tracks to make sure
| | 01:32 | it's the one you want to play.
(music playing)
| | 01:40 | Then just decide which tracks you want.
Any checked tracks will be extracted.
| | 01:46 | You can Toggle All the checks on and off,
so if you only want one or two tracks,
| | 01:49 | you don't have to spend your
time unchecking everything else.
| | 01:51 | So I can say Toggle All and then
just Click the three that I want.
| | 01:55 | Incidentally, you can sort the tracks
by Clicking the headers of the columns
| | 01:58 | here, which might be useful if you have
a CD with hundreds of sound effects and
| | 02:01 | you're trying to find tracks that are
only around, say, 10 seconds of length.
| | 02:04 | In that case, you can Click the
Duration Heading, and Clicking any header the
| | 02:08 | second time will reverse the order.
| | 02:11 | I'll just go back to Sorting by Track.
| | 02:13 | So once you have selected the songs you
want to extract, you can Click Okay, and
| | 02:18 | Audition tells me it's
extracting the audio from my CD.
| | 02:20 | I chose the maximum speed, so in this
case, it's only going to take a couple of
| | 02:23 | seconds for the songs I selected.
| | 02:25 | You can actually see the
progress of each track up here.
| | 02:29 | So there's the first song,
let's bring in the next song now.
| | 02:33 | In the meantime, I can actually start
playing the track if I want to listen.
| | 02:38 | (music playing)
| | 02:46 | I'll expand the Files panel so I can see
all of my tracks as they're coming in.
| | 02:50 | And now my selected tracks
have been added to my Files panel.
| | 02:53 | As always, I can double-click on any one
to open it in the Files panel to play it.
| | 02:56 | (music playing)
| | 03:02 | Or if you recall, we could turn
on Auto-Play if I just wanted to
| | 03:05 | sample some of these quickly.
(music playing)
| | 03:14 | I'll just turn that back off.
| | 03:16 | Now, at this point, the extracted
files only exist in a Temporary Folder
| | 03:19 | created by Audition.
| | 03:21 | If you want to keep the files on
your computer, you have to save them.
| | 03:24 | I can tell they need to be saved because
each one has an asterisk next to its name.
| | 03:27 | You can either select them individually
and choose file Save or just choose Save
| | 03:34 | All, and I'll just Browse
to save this to my Desktop.
| | 03:43 | I can choose the format--I'll just
keep them as a WAV, and I'll just keep all
| | 03:45 | the other settings here as they are.
| | 03:47 | Click Okay.
| | 03:48 | Each one is already going be saved to the Desktop,
so I just have to do this for each one.
| | 03:54 | And if I just Hide Audition for a moment,
I see they've been saved to my Desktop.
| | 03:58 | And with them saved, I can now open
them in Audition again at any time.
| | 04:02 | So that's how to extract the audio from CDs.
| | Collapse this transcript |
| Importing video files| 00:00 | As you may you already be aware of,
Audition can also import video clips in
| | 00:03 | addition to audio clips.
| | 00:05 | Now it can't actually edit video, but
it can often be useful to be able to see
| | 00:09 | the video portion of the clip you're
working on, especially if you're doing
| | 00:12 | sound design for the video.
| | 00:13 | You'll be trying to synch up music
or sound effects or fixing bad audio.
| | 00:17 | So let's see how this works.
| | 00:18 | I'm going to Click the Open button
on the Files panel and navigate to a
| | 00:22 | movie out of my desktop.
| | 00:24 | Notice that it now displays the video
and audio track as separate entities
| | 00:27 | in the Files panel.
| | 00:28 | And the audio file has an asterisk next to
it, indicating that it hasn't been saved.
| | 00:32 | Now if I try to Double-Click the video
track, I get a message telling me that
| | 00:36 | Audition can't edit it because it's
only a video track, but it also said that I
| | 00:40 | can view the video by inserting
it into a Multitrack session.
| | 00:43 | So let's create a Multitrack
Session to see how this works.
| | 00:45 | I'll choose File > New > Multitrack Session.
| | 00:48 | I could also use the keyboard
shortcut of Command+N, or Ctrl+N on Windows.
| | 00:51 | I'm not really going to concern
myself for settings here right now.
| | 00:55 | I'll just call it "video" and I'll Click Okay.
| | 00:59 | So we've already seen this before, but this
is what a Multitrack session looks like.
| | 01:03 | By default, I have six tracks to work with.
| | 01:05 | Notice that I also have a video.scsx
file in the Files panel now.
| | 01:11 | That's a Multitrack session file, which
is the file that keeps track of all the
| | 01:14 | changes that I make in the session.
| | 01:15 | I'm going to select both the audio and
video by holding Shift, so I can Click
| | 01:18 | them both and I'm going to
drag them onto where it says track one.
| | 01:21 | Notice that puts the audio in track one, and
it creates a video reference track up here.
| | 01:26 | The Video Reference had no
settings, just as the same implies.
| | 01:30 | It's just there as a reference so I can see
the video that goes along with the audio.
| | 01:33 | And remember, we have different
workspaces that we can work with here, so if I
| | 01:36 | wanted to see the video a little bit
better, I might switch to the Edit Audio
| | 01:39 | to Video Workspace.
| | 01:40 | So I'll tap my spacebar to play a
little, and you can see the video here
| | 01:45 | playing in the Video panel.
| | 01:46 | Now, there's no audio right now, but
you can see that it comes up a couple
| | 01:49 | seconds into the track.
| | 01:55 | (male speaker: My name is BD Dautch, and I have
Earthtrine farm, where we've been since 1998.)
| | 02:03 | So at this point, I can start whatever
work I need to do on the audio.
| | 02:06 | Again, I can't edit the video in any way.
It's just there as a reference.
| | 02:09 | And when I'm done with my changes, I
can only export the audio which will then
| | 02:12 | have to be rejoined with my video in
whichever video application I'm using.
| | 02:15 | Now we do have an entire chapter on
working with audio and video coming up,
| | 02:18 | so we'll talk a lot more
about this a little bit later.
| | Collapse this transcript |
| Recording audio| 00:00 | You most likely want to always be
working with pre-existing audio files or
| | 00:03 | importing files you created in
other applications into Audition.
| | 00:07 | Depending on the type of work you do,
you may frequently create your audio
| | 00:10 | files in Audition itself.
| | 00:11 | Audition is a great tool for direct
recording, whether you're doing voiceovers,
| | 00:15 | performing music, or just about any
other project that requires you to get audio
| | 00:18 | into Audition from a live source.
| | 00:21 | Now, Audition receives audio from
whichever device you have selected under
| | 00:24 | Preferences, which as you may recall,
we looked at in the first chapter.
| | 00:27 | Just as a quick review, go to Audition >
Preferences--or if you're on Windows,
| | 00:31 | Edit > Preferences--and choose Audio Hardware.
| | 00:34 | And again, this is where you choose
your Device Class and your default Input
| | 00:37 | and Output Devices.
| | 00:39 | So maybe you have a USB Microphone that
you want to record with, in which case
| | 00:43 | you'd select it from default Input menu.
| | 00:45 | Or maybe you have a guitar connected
to a mixer which is plugged into your
| | 00:48 | computer sound card, in which case
you'd select your sound card's line in.
| | 00:52 | Whatever the case, just make sure you
select the device you want to record with
| | 00:54 | from the default Input menu.
| | 00:56 | If you don't see the default Input and
Output Menus, you're probably working
| | 00:59 | with an ASIO device on Windows, in which
case you'll see a Settings button which
| | 01:02 | will open your User Preferences to
your sound card which then will be able to
| | 01:05 | use the selector Input Device.
| | 01:07 | For this example, I'm going to
stick with my built-in line input.
| | 01:09 | The microphone I'm currently speaking to
you with is connected to a mixer that's
| | 01:13 | outputting audio into Mac's Line-in.
| | 01:15 | So I will just Click Okay to close Preferences.
And the actual recording part is pretty simple.
| | 01:19 | I could either choose File > New >
Audio file to create a New Single Track
| | 01:23 | file, or I can just Click the Record
button down here at the bottom of the
| | 01:27 | Editor, which does the same thing, and it's just
going to prompt me to give my recording a name.
| | 01:33 | Let's call this "First Recording."
| | 01:35 | I'm going to leave the rest of these
settings at their default, the Sample Rate,
| | 01:37 | Channels, and the Bit Depth.
| | 01:39 | We'll be talking about these settings
more in the next chapter on Terminology.
| | 01:43 | So I'll Click OK, and now it's
actually recording as I'm speaking.
| | 01:47 | I just press the spacebar to stop it.
| | 01:49 | Now in this case, I wasn't ready to start
recording, but let's hear what we have anyway.
| | 01:54 | (video playing)
| | 01:56 | Click OK, and now it's
actually recording as I'm speaking.
| | 02:00 | So you can see it immediately captured
what was coming through my microphone.
| | 02:04 | If I don't what any of that, I can
just choose Edit > Select > Select All, or
| | 02:09 | I press Command+A or Ctrl+A, and just
hit the Delete key on my keyboard to
| | 02:12 | delete it.
| | 02:13 | Now that I'm actually ready to record, I
can get my Mouse button over the Record
| | 02:16 | button, and when I'm ready,
I'll Click it and speak.
| | 02:20 | (male speaker: Adobe Audition CS6 is a fantastic tool
for complete audio recording and editing projects.)
| | 02:28 | And I just pressed the Stop button
when I was ready to stop
| | 02:30 | recording, and that's pretty much
how you make a recording in Audition.
| | 02:33 | It's really that simple.
| | 02:35 | Again, to listen to my recording, I can
just bring my playhead back to the beginning.
| | 02:38 | I'm just going to Click somewhere
in here to deselect, and then I'll
| | 02:41 | press the spacebar to Play.
| | 02:43 | (male speaker: Adobe Audition CS6 is a fantastic tool
for complete audio recording and editing projects.)
| | 02:48 | Now if you want to add
to your recording, you can either place
| | 02:50 | the playhead at the end, or wherever you
want, to start recording again and then
| | 02:54 | just Click Record Again.
| | 02:55 | You can also do what's called Punching
In, which is when you let your file play
| | 02:58 | back and then press the Record button
at the moment where you want to jump in
| | 03:01 | and add the recording.
| | 03:03 | You'll often see this done when recording
music, maybe the guitarist was playing a
| | 03:06 | solo and didn't quite get the
last half of the solo correct.
| | 03:10 | You can roll the recording back, start
playing it back so the guitarist can play
| | 03:13 | along with it, and at the moment you
want to start rerecording again, you just
| | 03:15 | hit the Record button.
| | 03:16 | And hopefully it will sound
like one continuous guitar solo.
| | 03:19 | But, for example, I will just add a
little to the end of the recording, and I do
| | 03:22 | it live by rolling this back, and when
the playhead reaches the end, I'll press
| | 03:26 | Record to continue adding to this recoding.
| | 03:29 | (male speaker: Adobe Audition CS6 is a fantastic tool
for complete audio recording and editing projects.)
| | 03:35 | It's also extremely useful to clean up noise and
other unwanted sounds from your audio files.
| | 03:41 | So you can see there,
it selected the part I just added.
| | 03:43 | It recorded over what was originally
there, which is basically just emptiness.
| | 03:47 | But now I have what seems
like one continuous take.
| | 03:51 | (male speaker: Adobe Audition CS6 is a fantastic tool
for complete audio recording and editing projects.
| | 03:57 | It's also extremely useful to clean up noise and
other unwanted sounds from your audio files.)
| | 04:03 | And you will probably
find it useful to learn the keyboard
| | 04:05 | commands for playing, stopping, and recording.
| | 04:07 | As you have probably heard me using it,
the spacebar starts and stops playback,
| | 04:11 | and you can start and stop
recording with Shift+space.
| | 04:13 | Let me just see that command pop-up here,
and you'll find that much easier and
| | 04:16 | faster to work with these commands
instead of Clicking the buttons down here in
| | 04:19 | the Playback controls.
| | 04:20 | And notice, I have these Asterisk
next to my recording's name in the files
| | 04:23 | panel, which again, indicates to me
that I haven't saved this file yet.
| | 04:26 | So if I'm happy with this recording I
made, I want to make sure I choose Save.
| | 04:31 | Asking me to save it into a location.
| | 04:33 | I'm going to leave all these
settings the way they are and just Click OK.
| | 04:36 | Now there are definitely some things we
could do to tidy up this recording, like
| | 04:39 | maybe trimming the beginning and the end,
maybe getting rid of some of this gap
| | 04:43 | in the middle, and maybe even
running it through some effects.
| | 04:46 | But we'll take a look at how you do
those sorts of things later in the chapter
| | 04:48 | on working in the Editor.
| | Collapse this transcript |
| Creating a multitrack session| 00:00 | Previously in this chapter, I showed
you how to create a simple single track
| | 00:03 | audio recording in Audition.
| | 00:05 | And if you recall, it's a simple
matter of choosing File > New > Audio file.
| | 00:10 | That gives you the new audio file window here.
| | 00:12 | I am just going to call this "PSA part 1."
I'll leave the default settings, Click Okay,
| | 00:18 | and then a simple matter of
Clicking the Record button and making my
| | 00:21 | recording. "The following is a
public service announcement."
| | 00:26 | And there's my recording.
| | 00:27 | I'll save it, and I'll browse out to
my desktop, I'll create a new Folder,
| | 00:34 | just call it PSA, save it in there, leave
everything else the way it is, and Click Okay.
| | 00:41 | So that's how we create a
simple single track recording.
| | 00:44 | Now Audition also lets you create
Multitrack Sessions, which as its name
| | 00:47 | indicates, is a session that lets you
create multiple simultaneous tracks which
| | 00:51 | you can then mix together.
| | 00:53 | To create a Multitrack Session, choose
File > New > Multitrack Session, enter
| | 00:59 | a name, and we'll call this "PSA multi."
| | 01:03 | And again, I'm going to create a
different Folder on my desktop.
| | 01:05 | Let's call it "PSA multi" and
choose to save it in there.
| | 01:12 | Now if I wanted to, I could choose
from several templates that have been
| | 01:15 | designed so I could work on different
types of projects, but I'm going to keep
| | 01:19 | None Selected for now.
| | 01:21 | And again, I'm just going to keep the
default sample rate and bit depth here.
| | 01:25 | So now I'm looking at my multitrack session.
| | 01:27 | By default, Audition
generates six individual tracks.
| | 01:31 | You can see it in there, and plus we
have a master track here at the bottom.
| | 01:34 | But you can always add additional
tracks or take away unnecessary ones.
| | 01:37 | Notice my session has now appeared in
the file Browser with the extension of
| | 01:41 | SCSX, which is Audition's native file format.
| | 01:44 | Remember, you can switch back and forth
between any open files--whether it's a
| | 01:48 | session or an individual file--either
by double-clicking on here on the files
| | 01:51 | panel or by using the menu up here.
| | 01:55 | I'll stay on my Multitrack Session,
and now it's simply just a matter of
| | 01:59 | adding my tracks.
| | 02:00 | You can bring in pre-recorded tracks
simply by opening them in Audition and
| | 02:03 | drag them into a track.
| | 02:04 | For example, I can drag in
that PSA part 1 recording I made.
| | 02:06 | Just drag it on top of
track one, and there it is.
| | 02:10 | You can also record live on
any track that you choose.
| | 02:12 | The major difference here is that since
you have multiple tracks available, you
| | 02:15 | have to let Audition know which track
you want to record onto by Clicking this R
| | 02:19 | button in the track you want to record on.
| | 02:21 | That's the Record Enable button.
| | 02:23 | Notice each track has an identical set
of controls, so this interface really
| | 02:26 | isn't as complicated
looking as it may initially seem.
| | 02:28 | Also, notice the Record button at the bottom
of the window is currently grayed out.
| | 02:32 | I can't Click Record right now because
I haven't yet told Audition which track
| | 02:36 | I want to record on.
| | 02:37 | So I'm going to Enable Recoding
on track two, and that gives me the
| | 02:40 | Record button down below.
| | 02:42 | You can see my voice moving the meters here.
| | 02:45 | So once I'm ready to record, I can
just Click Record and start talking.
| | 02:51 | "The following is a public service announcement.
| | 02:52 | Remember to leave your desk and walk around
for a few minutes at least twice a day."
| | 02:57 | And there's my second track.
| | 02:58 | Now in a Multitrack Session,
each track plays simultaneously.
| | 03:03 | And I deliberately overlap
in there so you can hear that.
| | 03:05 | (male speaker: The following is a public service announcement.
| | 03:07 | Remember to leave your desk and walk around
for a few minutes at least twice a day.)
| | 03:11 | But because this is a Multitrack
Session, I can easily move this track over a
| | 03:15 | little bit if I want to have
little bit more of a pause.
| | 03:18 | (male speaker: --service announcement.
| | 03:20 | Remember to leave your desk and walk around
for a few minutes at least twice a day.)
| | 03:24 | And I'll Save the session.
| | 03:26 | Now an important thing to note here is
that multitracks session files--the SCSX
| | 03:30 | files here--are really just containers
for multiple individual audio files.
| | 03:34 | The session file itself contains no audio.
| | 03:37 | Instead, the session file is for
keeping track of the individual files that are
| | 03:40 | being used, how loud they are, when
they play, what effects that have been
| | 03:44 | applied to them, and so on.
| | 03:45 | So if I hide the Audition for a moment
and look at it on my desktop--here's the
| | 03:49 | Folder called "PSA multi" that I just
recorded my session into--actually created
| | 03:53 | a Folder in there for me.
| | 03:54 | Here is the SCSX file.
| | 03:55 | Notice there it's only 95 kilobytes.
| | 03:57 | It's a very small file.
| | 03:58 | Inside "PSA multi_Recorded" is
the actual audio file I recorded.
| | 04:02 | Notice that it says, "Track2_001,"
meaning this appears on track two, and it
| | 04:07 | was the first take.
| | 04:08 | Notice that's 2.6 megabytes,
so that's significantly larger.
| | 04:11 | That's the bulk of the track right there.
| | 04:12 | Also found in here is the PKF file--
also called the Peak file that Audition
| | 04:16 | generated--and it keeps track of how
audio files are displayed on screen.
| | 04:20 | It's just a helper file that makes
your sessions open fast the next time
| | 04:23 | you open them, and they're
especially useful if you have a large
| | 04:25 | Multitrack Session.
| | 04:26 | But some people find it annoying or
destructing to have a PKF for every
| | 04:30 | single track they create.
| | 04:31 | And you can actually safely delete that
file, and you won't lose any data, but
| | 04:36 | Audition will generate it again the
next time you work on your session.
| | 04:38 | Now if you really prefer not to have
the Peak file generated, then go back to
| | 04:42 | Audition preferences--remember, it's
Edit > Preferences on Windows--and then go
| | 04:46 | to the Media and Disk Cache area.
| | 04:48 | And here you can uncheck Saved Peak files.
| | 04:51 | Again, this is totally up to you, and
it really doesn't have any bearing on the
| | 04:54 | recordings themselves.
| | 04:55 | It just makes multitracks sessions
open faster, especially when you have a
| | 04:58 | lot of tracks.
| | 04:59 | And the PKF file takes up very little space,
so I'm going to leave that option checked.
| | 05:05 | Now another thing I want to point out.
| | 05:07 | I'm going to turn off the Record
Enable on the tracks so I don't
| | 05:09 | accidently record on that.
| | 05:10 | Another thing I want to point out is
that the only WAV file in my Multi-session
| | 05:14 | Folder is the one I
recorded in the Multi-session.
| | 05:16 | The file that I dragged in--track
one here--it doesn't appear here in my
| | 05:23 | Multi-session Folder.
| | 05:25 | It's still wherever I stored it on my
computer, which in this case is in this
| | 05:28 | Folder, right there.
| | 05:30 | And really that's fine.
| | 05:30 | And Audition can keep track of that
file, but in general, it's a good idea to
| | 05:34 | keep all of your session's related
files together in one Folder, so you might
| | 05:37 | want to get into the habit of copying
all of your files into one location along
| | 05:40 | with your session file before you
really get deep into your session.
| | 05:43 | I'll show you in a later chapter how
to save your sessions so all of its
| | 05:45 | relative files are placed together into
a Folder, and that's useful in case you
| | 05:48 | want to move your entire session to
another computer or just want to make sure
| | 05:51 | everything is in the same place.
| | 05:52 | For now, I'm just going to
leave everything where it is.
| | 05:56 | Lastly, I want to mention that if
you have a mouse with the scroll wheel,
| | 05:59 | scrolling in the Multitrack Session
might be a little confusing at first.
| | 06:03 | Be aware that if you want to scroll
through your tracks--meaning you want to
| | 06:05 | see all the different tracks--make sure
your mouse cursor is somewhere over the
| | 06:09 | area where the track's waveforms appears.
| | 06:12 | So notice, I can scroll with my mouse's
scroll wheel, and you can tell by the
| | 06:15 | scroll bar over here that
I'm scrolling up and down.
| | 06:17 | So I'm doing that with my mouse wheel.
| | 06:20 | If you put your mouse over the Track
Control Area, you'll instead increase and
| | 06:23 | decrease the display
height of the tracks themselves.
| | 06:29 | See, I'm doing this over track five.
| | 06:32 | Track five just got smaller
along with all the other tracks.
| | 06:37 | But whichever track my mouse is
over when I enlarge it, that's the one
| | 06:39 | that stays on screen.
| | 06:40 | And this can definitely be useful,
especially when you're working with a lot of
| | 06:44 | tracks and you might want to compress
them all just to take a look at your
| | 06:47 | tracks overall, or you might want
to zoom into a particular track.
| | 06:50 | We'll be seeing later that you can
display all kinds of other information within
| | 06:53 | this track, and you might need space this large.
| | 06:55 | But I just wanted to make sure you're
aware of these different behaviors if you
| | 06:58 | have a mouse with the scroll wheel.
| | 06:59 | Okay. So that's how to create and record
into a basic Multitrack Session.
| | 07:03 | We'll be getting deeper in the multitrack
sessions in its own chapter later on.
| | Collapse this transcript |
|
|
3. Important Audio TerminologyUnderstanding frequency| 00:00 | Before we get into really using
Audition, I want to make sure we have a
| | 00:03 | basic understanding of a handful of
terms that are important in order to
| | 00:06 | work with Audition usefully.
| | 00:08 | I want to start by talking about Frequency.
| | 00:10 | When a sound is created,
it travels through a medium.
| | 00:13 | Normally for us, that medium is air,
and it travels by changes in air pressure
| | 00:17 | in the form of waves.
| | 00:18 | When those waves hit your eardrums,
your brain interprets them as sounds, and
| | 00:22 | the timing of these of waveforms
are what we refer to as Frequency.
| | 00:26 | Frequency is measured in Hertz, or Hz.
| | 00:29 | Hertz is also referred to as cycles per second.
| | 00:32 | The more cycles per second, the
higher pitch the sound will be.
| | 00:35 | The fewer cycles per second,
the lower the sound pitches.
| | 00:37 | For example, the lowest C on a
piano registers around 32 Hertz.
| | 00:42 | Well, the highest note on the piano comes
in about 4186 Hertz, or 4.186 Kilohertz.
| | 00:49 | We generally start using Kilohertz when
talking about the higher ranges of frequencies.
| | 00:53 | It's generally accepted that the range
of human hearing is from a low of about
| | 00:56 | 20 Hertz to a high of about 20,000 Hertz,
or 20 Kilohertz.
| | 01:00 | Sound higher than 20 Kilohertz can
sometimes be heard by younger people, but as
| | 01:05 | a rule you start to lose that upper
range of hearing as you get older.
| | 01:08 | So what does this have to do with Audition?
| | 01:10 | Well, regardless of what
application you're using, it's important to
| | 01:13 | understand what frequency is.
| | 01:15 | As you go along, you'll start to
get a sense of at what frequency range
| | 01:17 | certain sounds fall into.
| | 01:19 | This becomes important when you start working
with equipment like Graphic Equalizers.
| | 01:23 | If you know at what frequencies the
human voice usually falls between, you'll
| | 01:26 | be able to enhance or subdue those
portions of the recordings without affecting
| | 01:30 | the rest of the recording.
| | 01:31 | And you'll be able to use tools like
the Spectral Frequency Display in Audition
| | 01:34 | to identify unwanted sounds and remove them.
| | 01:37 | So understanding the frequency of sound
plays a major role when working with any
| | 01:41 | audio editing application.
| | 01:42 | But that's only one half of the equation.
| | 01:44 | Sounds are not just measured by their
frequencies but also by their amplitude.
| | 01:48 | And we'll talk about amplitude next.
| | Collapse this transcript |
| Understanding amplitude| 00:00 | Previously, we talked about frequency, which
determines the pitch of the sound you're hearing.
| | 00:04 | The other important part of
measuring a sound is its amplitude.
| | 00:07 | In technical terms, amplitude is a
level of change in the oscillation of
| | 00:11 | atmospheric pressure caused by sound waves.
| | 00:13 | In simpler terms, amplitude
refers to the loudness of the sound.
| | 00:17 | The higher the amplitude the more
powerful it is, so the more air it's pushing
| | 00:20 | around and the louder it sounds.
| | 00:22 | Quieter sounds are not as
powerful, so they push less air around.
| | 00:25 | So together, frequency and amplitude
give you the pitch and loudness of
| | 00:29 | the sound wave.
| | 00:30 | In Audition, you'll probably spend
most of your time working here with
| | 00:32 | the Waveform Editor.
| | 00:34 | We have an entire chapter coming up in
which I'll go into detail, but basically
| | 00:37 | the Waveform Editor displays your
audio file as a waveform where time is
| | 00:41 | measured on the horizontal axis and
amplitude is measured on the vertical axis.
| | 00:46 | The height of the peaks you see here tell you
how loud the sound is at any given time.
| | 00:50 | Amplitude is measured in decibels, or dB.
| | 00:52 | And you can see the scale
here over on the right.
| | 00:54 | If I use my mouse, I can actually
scroll in to see more increments.
| | 00:59 | But basically, no sound is represented
by this negative infinite symbol.
| | 01:04 | And that's represented by the horizontal
line that runs through the Waveform Editor.
| | 01:08 | Any deviations from the center line,
whether it's the peaks above or below the
| | 01:12 | line, represent sound.
| | 01:14 | So throughout this course, when I'm
referring to as sound's amplitude, you'll
| | 01:17 | know that I'm speaking
about its loudness or volume.
| | 01:20 | Now this has been a very brief
discussion of frequency and amplitude.
| | 01:23 | If you'd like a much more in-depth
explanation, I highly suggest you check out
| | 01:26 | the course called Foundations of Audio:
| | 01:28 | EQ and Filters by Brian Lee White,
which you'll find on the lynda.com
| | 01:31 | Online Training Library.
| | 01:32 | You'll find an early chapter in that
course called Understanding Frequency
| | 01:36 | and Amplitude, which will increase your
understanding of these two important concepts.
| | Collapse this transcript |
| Understanding sample rate| 00:00 | When talking about digital audio, another
important term to understand is sample rate.
| | 00:04 | Sound is a continuous entity or wave.
| | 00:07 | When we capture audio digitally--which
is what we're doing when we record into a
| | 00:10 | computer--we're not really
capturing every single moment of the sound.
| | 00:14 | What we're doing is
capturing samples of the sound.
| | 00:16 | Just as a video camera doesn't
capture every single moment of motion,
| | 00:19 | it captures frames.
| | 00:21 | But it captures enough frames per
second--generally 24 to 30 frames per
| | 00:24 | second--that when those images are played
in sequence, we have the illusion of motion.
| | 00:29 | So, when you digitally recorded a sound,
the frames in this case are called samples.
| | 00:34 | The more Samples you can collect per
second, the more accurate the sound will
| | 00:37 | sound when you play it back.
| | 00:39 | The speed at which these samples
are collected is called sample rate.
| | 00:42 | For example, the standard sample rate
of a standard music CD is 44,100 hertz,
| | 00:47 | or 44.1 Kilohertz.
| | 00:50 | That means that for every second of
music, what you're really hearing is
| | 00:52 | 44,100 samples of the music, which is
acceptable to the majority of people in
| | 00:57 | terms of sound fidelity.
| | 00:59 | When you create a new recording in Audition--
I'll choose File > New > Audio file--
| | 01:05 | one of the choices you
make here is Sample Rate.
| | 01:07 | You can see there is an
incredibly wide range of choices here.
| | 01:10 | But generally, you're probably going
to stick with the 44.1 or 48 Kilohertz.
| | 01:14 | The accepted rule is that you need a
sample rate that's at least double the
| | 01:17 | highest frequency you're going to capture.
| | 01:18 | 44.1 is considered the minimum you
should go with since human hearing tops out
| | 01:23 | around 20 Kilohertz.
| | 01:24 | So 44.1 Kilohertz gives you a nice buffer.
| | 01:27 | Again, music CDs have a
standard sample rate of 44.1.
| | 01:30 | But you'll find that when you're working
with videos, those generally have audio
| | 01:33 | recorded at 48 Kilohertz.
| | 01:35 | So if you're going to be working with video,
you should go with 48 Kilohertz as a rule.
| | 01:38 | But if you have the hard drive space
to spare, many people recommend going as
| | 01:41 | high as 96 Kilohertz.
| | 01:43 | Now beyond that point is probably not worth
sacrificing additional hard drive space.
| | 01:47 | You're not going to hear the difference
between 96 Kilohertz and 192 Kilohertz.
| | 01:52 | You also want to keep the final
destination of your recording in mind.
| | 01:55 | There are different schools of thought
on whether it's worth recording at 48
| | 01:58 | Kilohertz if you're going to be burning
your recording to a CD, at which point
| | 02:01 | will drop to 44.1 Kilohertz.
| | 02:04 | Some people say it's better to have a
higher sample rate to work with while
| | 02:07 | others point out that the
difference is only 8% between 48 and 44.1.
| | 02:10 | And it might not be worth your time to
convert your file to 44.1 at that point.
| | 02:14 | Now, some engineers are starting to
record at 88.2 Kilohertz, which is exactly
| | 02:19 | twice the sample rate of 44.1 so they
can exactly cut their sample rate in half
| | 02:23 | when they reduce the sample rate for CDs.
| | 02:25 | It's really something you're going
to have to determine for yourself.
| | 02:27 | But another factor in the recording
quality of your project that you'll need to
| | 02:30 | consider is Bit Depth.
| | 02:32 | And we'll talk about that next.
| | Collapse this transcript |
| Understanding bit depth| 00:00 | Okay. So, when you're creating a new recording
in Audition--again I'll choose File > New > Audio file.
| | 00:06 | In addition to the sample rate--which
we previously covered--you also need to
| | 00:09 | select the bit depth of your recording.
| | 00:11 | Notice we can choose
from 8, 16, 24, or 32 float.
| | 00:16 | The bit depth determines the
dynamic range of your audio file.
| | 00:19 | The more bits, the wider the range of
volume you can have within each sample
| | 00:22 | of your recording.
| | 00:23 | Think back to the previous movie on sample rate.
| | 00:25 | We likened the sample rate to a
camera that takes thousands of images of
| | 00:29 | a sound per second.
| | 00:30 | For example, a sample rate of 44.1
Kilohertz takes 44,100 samples per second.
| | 00:36 | The amount of information stored in
each one of those samples is determined
| | 00:39 | by the bit depth.
| | 00:41 | So, for example, a low bit depth like
8-bit resolution only allows for a dynamic
| | 00:45 | range of 48 dB within a sample.
| | 00:48 | That's not enough to accurately
capture the dynamic range of most sounds.
| | 00:51 | A 16-bit resolution, which is how most
music CDs are encoded, allows for 96 dBs
| | 00:56 | of dynamic range.
| | 00:57 | 24 gives you 144 dB range, and 32 is
the best at 192 decibels of dynamic range.
| | 01:05 | So, the higher your bit depth, the more information
or dynamic range you have to work with.
| | 01:09 | Higher bit depths also
result in larger files, though.
| | 01:12 | But unless you're working on an old
computer with very little hard drive space
| | 01:15 | to spare, you should always work at the
highest bit depth possible, which is
| | 01:18 | 32 float in this case.
| | 01:20 | When you're done, you can always
convert your file to a lower bit depth if you
| | 01:23 | want to decrease the file size, or for
example, burn a CD for which you'll have
| | 01:27 | to drop your bit depth down to 16-bit.
| | 01:29 | Now the reason it's labeled 32 float is
because this isn't true 32-bit recording.
| | 01:34 | 32-bit float is actually a 24-bit resolution
recording with an additional 8 bits
| | 01:38 | for headroom and dynamic range.
| | 01:40 | And currently there aren't any 32-bit
soundcards or input/output devices for computers.
| | 01:45 | The highest quality devices are still 24-bit,
and Audition uses 32-bit float to
| | 01:49 | get the optimum sound quality and
dynamic range out of your 24-bit hardware.
| | 01:53 | The bottom line, use 32-bit float for your
recordings to get the best dynamic range.
| | 01:58 | You can always convert it down later,
but you'll never be able to get more
| | 02:01 | quality out of a recording that
was recorded at a lower bit rate.
| | Collapse this transcript |
|
|
4. Working in the Waveform EditorUnderstanding the Waveform Editor interface| 00:00 | In this chapter, we're going to be
looking at some of the most common tasks
| | 00:03 | you'll be performing when it
comes to editing your audio files.
| | 00:06 | Now we've already touched on some of
the basics of the Waveform Editor, but
| | 00:09 | let's review and really familiarize
ourselves with it before we move on.
| | 00:12 | I've opened the file, maya_intro_raw
from the Exercise Files folder, but it's
| | 00:16 | mainly just serving as a placeholder.
| | 00:18 | If you want to work along with me and
you don't have access to the exercise
| | 00:21 | files, you can open any
other audio file on your own.
| | 00:23 | And in this chapter we're going to be working
primarily with the Waveform Editor.
| | 00:27 | So if you currently have the Spectral Display
open, you can just close that for now.
| | 00:31 | Remember, you can just toggle this button here.
| | 00:34 | You can use this little arrowhead here,
or you can just drag the Separator
| | 00:38 | bar all the way down.
| | 00:40 | So for now, we're just going to keep
that completely hidden and focus on
| | 00:43 | the Waveform Editor.
| | 00:44 | And by the way, I'm working from the
default workspace, which you can pull up
| | 00:47 | from the Workspace menu up here.
| | 00:48 | So the Waveform Editor shows us waveforms,
these visual representations of audio
| | 00:53 | displayed as peaks and troughs.
| | 00:56 | By default, when you open an audio
file, Audition displays the waveform for
| | 00:59 | the entire file.
| | 01:01 | I can tell because the selector in the
navigator area at the top here covers the
| | 01:04 | entire width of the waveform.
| | 01:05 | Remember, dragging a handle in on
either side zooms in on the portion of the
| | 01:10 | waveform still covered by
this navigator selector.
| | 01:13 | Down here I can see the
duration of the entire file.
| | 01:15 | It's about 1 minute 38 seconds, and
that's also reflected up here in the
| | 01:19 | timeline above the waveforms.
| | 01:21 | Depending on the kind of project
you are working on, you can change the
| | 01:24 | display in this area by right-clicking
on it and selecting a different scale
| | 01:28 | from Time display.
| | 01:29 | For example, if I were recording
music, I might select Bars and Beats.
| | 01:33 | So now the timescale represents the
bars or the measures within my song.
| | 01:37 | And that will make it much easier for
me to see which beat any particular part
| | 01:40 | of the waveform appears.
| | 01:41 | You'll notice that not only changes the timescale
but also the grid behind the waveform.
| | 01:45 | So, it's much easier to see where
the different waveforms line up.
| | 01:48 | But for now, I'm going to switch this
back to the Decimal setting to go back
| | 01:52 | to the Time display.
| | 01:54 | So the Time display appears at top and
tells you, in this case, how far into
| | 01:57 | your audio file you are
based on where the playhead is.
| | 02:00 | If I click on the Timescale, I just
jumped the play head to that location.
| | 02:04 | Now along the right side of the
editor, you have the Amplitude display.
| | 02:08 | As we previously discussed, amplitude amounts
to the volume or loudness of your audio.
| | 02:14 | There are two displays here because
this is a stereo file with both a left
| | 02:17 | and right channel.
| | 02:18 | If this were a mono file, we would only
see one waveform and we'd only have one
| | 02:22 | amplitude scale here on the right.
| | 02:24 | So, amplitude is measured in decibels or dB.
| | 02:27 | The negative infinity symbol in the
middle of the scale represents absolute
| | 02:30 | silence and the scale
goes out in both directions.
| | 02:34 | The further away the waveform gets
from the center, the more amplitude
| | 02:37 | or loudness it has.
| | 02:38 | And it's easy to tell just by looking
at the waveform where the loudest and
| | 02:41 | quietest points of your recording are.
| | 02:43 | For example, at the very beginning of
the waveform, I see a very tiny little
| | 02:47 | waveform then followed by what appears
to be a straight line right before the
| | 02:50 | speaker actually starts speaking.
| | 02:51 | Let's play a few seconds
at the beginning and listen.
| | 02:53 | Again, I'm using my spacebar
to start and stop the playback.
| | 02:59 | (male speaker: Hi, I'm George Maestri, and wel--)
| | 03:02 | So, that's just like a little, tiny
throat clearing there, or a little click.
| | 03:07 | After a while, you may even begin to be
able to tell what kind of sounds are in
| | 03:10 | your file just by looking at the waveform.
| | 03:12 | For example, since I know this is a
recording of someone speaking, this little
| | 03:16 | waveform spike right here--and I'm
just clicking to highlight there--
| | 03:20 | that tells me that this is probably an
unwanted sound since it's quieter than
| | 03:23 | the rest of the waveform, and it's so short.
| | 03:25 | I'll just play and you can listen to that.
(audio playing)
| | 03:29 | So yeah, that was a throat clearing.
| | 03:32 | These are the sort of things you'll
soon start to recognize after you have been
| | 03:35 | working with waveforms for a while.
Okay, so back to the Decibel scale.
| | 03:39 | Like the timescale at the top of the
screen, you can also right-click over and
| | 03:43 | choose a different scale,
for example, Percentages.
| | 03:46 | You can see that change to the scale here.
| | 03:49 | But you'll probably find the decibels are
going to be the most common and useful.
| | 03:52 | So, I'm going to switch that back.
Notice the L and R buttons here as well.
| | 03:56 | These tell you which is the left
channel and which is the right.
| | 03:59 | Clicking either one mutes that channel.
| | 04:00 | I'll click Play and mute and unmute the
channels, and you should be able to hear
| | 04:04 | the difference, especially
if you're wearing headphones.
| | 04:07 | (male speaker: --tools, as well as how to use
those tools to create your own rig.
| | 04:12 | We're gonna start off with a basic introduction
of rigging theory, and then we're gonna dive--)
| | 04:17 | So that might be useful
if you're trying to isolate a sound or
| | 04:20 | hear something that might be
contained only on the right or left channel.
| | 04:23 | Most of the time, you'll probably
keep both channels unmuted though.
| | 04:26 | Now, depending on how loud or quiet your
recording is, you may find it necessary
| | 04:30 | or helpful to be able to
increase or decrease the Decibel scale.
| | 04:34 | You can use the Zoom buttons down here
that have vertical arrows next to them to
| | 04:37 | zoom in and zoom out.
| | 04:39 | Notice the scale is changing along
with the zoom size of the waveform.
| | 04:44 | But if you have a mouse with a
scroll wheel, you'll probably find it more
| | 04:46 | convenient to just place the mouse
anywhere over the Decibel scale than
| | 04:50 | scrolling it out that way.
| | 04:51 | Again, this can be useful if, for
example, I had a pretty quiet file and I
| | 04:56 | needed to see the waveform a little
more clearly so I could zoom in on it--or if
| | 04:59 | the file is really loud I could zoom out.
| | 05:03 | Similarly, you can zoom in time,
either by clicking the Zoom Tools with the
| | 05:07 | horizontal arrows on them.
| | 05:09 | You can see by the navigator up here, I
am basically zooming in that portion of
| | 05:12 | the waveform that's currently covered up.
| | 05:14 | Or again, you can use your scroll
wheel by placing your mouse over the
| | 05:17 | portion of the waveform you want to zoom into
and then using the scroll wheel to zoom in.
| | 05:20 | So, for example, here I'm going to
zoom in on that little cough at the end.
| | 05:24 | I can even grab the Selection bar here
in the navigator to move slightly left
| | 05:28 | or right if I want to be more precise
about where that waveform is placed in
| | 05:30 | the display down here.
| | 05:32 | Now when it comes to zooming in,
you can zoom all the way down into the
| | 05:35 | sample level.
| | 05:36 | That's what we're seeing here is
each actual sample represented by these
| | 05:42 | square dots.
| | 05:44 | You'll very rarely have to work
at this level of magnification.
| | 05:46 | I'm going to click the Zoom Out
to Full button to reset my display.
| | 05:50 | Okay. So, that's a general
overview of the Waveform Editor.
| | 05:54 | Now there are some specific tools we
didn't cover here, like the Fade In and
| | 05:56 | Fade Out tools, or the Heads-up display,
but we'll be covering those in detail
| | 06:01 | in the upcoming movies.
| | Collapse this transcript |
| Making selections| 00:00 | In order to do the majority of the
most common types of edits you'll be
| | 00:03 | making in Audition, you'll first have
to select a portion of the audio file
| | 00:06 | that you want to edit.
| | 00:07 | Much like in a word-processing
application where you click and drag across
| | 00:10 | the letters, words or paragraphs you
want to edit, you make selections in
| | 00:13 | Audition simply by clicking and
dragging across the portion of the waveform
| | 00:16 | you want to change.
| | 00:17 | Now, I should say that this requires
you to have the Time Selection tool
| | 00:20 | selected, but as you can see, it's
the only tool available when working in
| | 00:23 | the Waveform Editor.
| | 00:25 | If you have the Spectral Frequency
Display open, or if you're working in a
| | 00:28 | multitrack session, you'll have
access to some of these other tools.
| | 00:30 | When I'm just looking at the
waveform, I have one default tool.
| | 00:33 | So you can drag in either direction, you
can drag left to right or right to left.
| | 00:38 | Notice in the Stereo file that both
the right and left channels are selected
| | 00:41 | simultaneously and identically.
| | 00:43 | That's the default behavior you want
in most cases, but if you ever want the
| | 00:46 | edit to only affect one channel, first
make your selection and then mute the
| | 00:50 | channel you don't want to affect.
| | 00:51 | For example, I've made my selection here,
I'll mute the left channel, and then
| | 00:55 | I'll press Delete on my keyboard.
| | 00:56 | Notice I've only removed the audio
in the selection on the right channel.
| | 01:00 | The audio here in the left
channel, it's still there.
| | 01:03 | I'm just going to undo that.
| | 01:06 | To deselect anything you have selected,
simply click anywhere in the waveform,
| | 01:08 | whether it's in the
selection or outside the selection.
| | 01:11 | Another way to make a selection is to
click to place the playhead where you want
| | 01:14 | the selection to begin.
| | 01:16 | Then hold Shift and click in the
waveform where you want the selection to end.
| | 01:19 | Everything in between
those two points gets selected.
| | 01:22 | I sometimes find it easier to do that
than to click and drag the selection,
| | 01:25 | especially if I'm zoomed in, and
I need to make a long selection.
| | 01:28 | For example, I'll just zoom in a bit
here, and I'll click to place to playhead
| | 01:33 | where I want my selection to begin, and
then I'll use the navigator to scroll to
| | 01:36 | the right, and then I'll Shift-click
where I want the selection to end.
| | 01:39 | And you can do this front
to back or back to front.
| | 01:43 | It doesn't really matter in which
direction you make your selection.
| | 01:46 | Now, while I'm zoomed in here, I'll
mention that another way to make a selection
| | 01:48 | is to double-click in the Waveform Editor.
| | 01:51 | That selects everything that's
currently visible within the editor.
| | 01:54 | Notice in the navigator that
everything in here is selected.
| | 01:55 | I can actually move this out of the way,
and you can see that that area is the
| | 01:58 | only area that was selected.
| | 01:59 | Now, if you want to select the
entire waveform, just triple-click.
| | 02:02 | Now you can see the entire waveform is selected.
| | 02:05 | Now, another way to make a
selection is with Markers.
| | 02:08 | Markers are used when you want to note a
certain point in the recording that you
| | 02:11 | may need to review or edit or
just get back to it at some point.
| | 02:15 | You can add Markers by
opening the Markers panel.
| | 02:17 | If you don't see it, you can go to the
Window menu and choose Markers from here.
| | 02:21 | And here, you just click the Marker
button each time you want to note a point
| | 02:23 | on your waveform.
| | 02:25 | So you can see that clicking it
puts this marker or one marker here.
| | 02:28 | I'll get this playhead out of the way, but
it places it right where the playhead was.
| | 02:31 | It also places this dotted line
through the waveform so I can see precisely
| | 02:35 | where it falls, and I can see the
details here in the Marker panel.
| | 02:38 | Now, you can also use a shortcut of pressing M
on your keyboard to add another marker.
| | 02:43 | I prefer this method because then it's very
easy to add a marker as you're reviewing your audio.
| | 02:47 | Every time you hear something you want to
check out later during playback, just press M.
| | 02:51 | (male speaker: --tools. Then we're gonna put
all those tools together to create a basic rig
| | 02:56 | for your character. Then we're gonna
get a little bit more advanced and--)
| | 03:02 | So each time I press M,
I add another marker there.
| | 03:05 | You can also use your
markers to make selections.
| | 03:07 | For example, you might want to use markers
to highlight an area you want to remove.
| | 03:11 | Just select the marker in the Markers
panel that represents the beginning or
| | 03:13 | ending of the selection you want to make,
then hold Shift and select the other marker.
| | 03:17 | That makes the Merge selected
markers button available, and clicking it
| | 03:20 | connects the two markers.
| | 03:22 | Then just double-click the merged marker
and everything within it will become selected.
| | 03:26 | And to clear markers, you can select
them and just click the Trash icon.
| | 03:31 | Now, there's one last but very important
thing that I want to show you about selections.
| | 03:34 | Let's say I wanted to select a phrase
in my recording in order to delete it
| | 03:37 | or edit in some way.
| | 03:38 | I'm just going to make a rough
selection, something like that.
| | 03:41 | Now, oftentimes, especially when
you're deleting part of a waveform, you're
| | 03:44 | going to end up hearing a
click where the edit occurred.
| | 03:47 | To see why this happens, I'm going to zoom
way into the beginning of my selection.
| | 03:50 | Now, you can do this by clicking the
Zoom In at In Point button down here,
| | 03:54 | and that keeps the beginning of my
selection centered in the Waveform Editor
| | 03:57 | as I zoom in.
| | 03:58 | Alternately, I can use my mouse's
scroll wheel by keeping the mouse pointer
| | 04:01 | directly over the area I want to
zoom into. And I'm zooming way in here.
| | 04:09 | Now, as I mentioned earlier, the
center line here, this red line
| | 04:12 | represents absolute silence.
| | 04:15 | Generally, anytime you're making an
edit, you want your selection to start
| | 04:18 | and end where the waveform is crossing that
red line rather than above it or below it.
| | 04:22 | And you can see that my selection
right now is hitting this waveform where
| | 04:25 | it's above the red line.
| | 04:27 | It's better to do it where it's
crossing the red line because that's the
| | 04:29 | moment of silence.
| | 04:30 | In making your edit there, it should
eliminate any clicking or other unwanted
| | 04:33 | sounds you may hear if you were to make
your edit where the waveform is above or
| | 04:36 | below the center line.
| | 04:37 | Now, I could hold my Shift key to try
to add or remove a bit of the selection
| | 04:42 | and get it closer to the center line, but Audition
can do this for you much more precisely.
| | 04:46 | Now, the point at which the waveform crosses
that center line is called the Zero Crossing.
| | 04:52 | Under the Edit menu, you'll find Zero Crossing,
and the options here are fairly self-explanatory.
| | 04:57 | You can either move both the start
and the end points, adjust the entire
| | 05:01 | selection inward or outward, or you
can move just the start and end points
| | 05:04 | either inward or outward.
| | 05:06 | You might have to experiment
with which one of these works best.
| | 05:09 | But I'll select Adjust Selection Inward
to move both ends of my selection to the
| | 05:13 | nearest Zero Crossing, and that will
very slightly shorten my selection.
| | 05:17 | But as you can see now, the selection
is right on that intersection point.
| | 05:21 | Even if I zoom way in, you can see it's right
there where it crosses the center point.
| | 05:28 | So that's really how all
your selections should be made.
| | 05:30 | Now, for the sake of brevity, you
won't see me doing this every time I make a
| | 05:33 | selection here in these tutorials, but
when you're working on your own work and
| | 05:36 | when it's important, you want to
make sure that you understand the center
| | 05:38 | crossing concept and use it.
| | 05:40 | And that's why it's important to learn
the keyboard shortcuts for setting the zero point.
| | 05:43 | I'm going to zoom all the way back out here.
| | 05:44 | So when you know the keyboard
shortcuts, you can make your selection.
| | 05:47 | In this case, I'll hit Shift+I to
automatically set both my start and end points
| | 05:52 | to the Zero Crossing.
| | 05:53 | Now, it's imperceptible at this level of
zoom, but Audition has made the change.
| | 05:57 | So remember, that's found under Edit >
Zero Crossings, and again, try to learn
| | 06:00 | the keyboard commands here.
| | 06:01 | Okay, so just bear that in mind as
you make your selections in Audition.
| | Collapse this transcript |
| Adjusting the clip amplitude| 00:00 | You've probably noticed this tool
that's sort of hanging out near the top of
| | 00:03 | the Waveform Editor.
| | 00:04 | This is the Amplitude Adjustment tool,
and it allows you to increase or decrease
| | 00:08 | the loudness of a selection you have made.
| | 00:10 | Now, in some cases, you may want to
increase or decrease the volume of the
| | 00:12 | entire clip, in which case, simply click
anywhere over the graph or dial or text
| | 00:17 | here and drag left or right.
| | 00:19 | And while you're dragging, you get a
real-time representation of how much you're
| | 00:22 | increasing or decreasing the
amplitude as the waveform grows and shrinks.
| | 00:25 | So maybe I want to increase
the amplitude to about 4 dB.
| | 00:29 | So there's 4.2 dB right there.
| | 00:31 | I release and Audition takes a
moment to make my change, and there it is.
| | 00:35 | Now, you might have noticed that
when I released my mouse, the Amplitude
| | 00:38 | setting went back to 0 dB.
| | 00:40 | It does this in case I want to make
further adjustments, and that way I can know
| | 00:43 | how much I'm increasing or decreasing
the amplitude from the current level.
| | 00:48 | As with all yellow underlined text, I can click
on that number, and I can type in a value.
| | 00:52 | So if I wanted to take this back down
to its original level, I could type -4.2 dB,
| | 00:58 | press Return, and there it is.
| | 01:01 | Now, as I mentioned, the Amplitude
tool works for whatever you have selected.
| | 01:04 | If you don't have anything selected, it
adjusts the entire clip, but if you only
| | 01:07 | want to increase or decrease the
volume of a certain section, first make your
| | 01:10 | selection and then change the amplitude.
| | 01:14 | And as you can see, only the contents
within that selection are then changing.
| | 01:19 | I'm just going to undo that.
| | 01:21 | Also notice how the tool stays
centered within my selection as I'm making it.
| | 01:24 | It's just dropping to
wherever I'm making my selection.
| | 01:27 | That can be useful if you're making a
bunch of selections and you don't want to
| | 01:30 | have to keep moving your mouse
back to the center of the screen.
| | 01:34 | Now, there's a Pin icon right here.
| | 01:37 | Just drag it over here, for example.
| | 01:39 | If I click that pin, I'm pinning this
Amplitude Adjustment tool to its current
| | 01:42 | location, which is what you can
do when you don't want it to move.
| | 01:45 | So now, as I make my selections,
it stays in one place.
| | 01:48 | And you're also free to drag this tool
around anywhere else within the editor
| | 01:52 | that's convenient to you.
| | 01:53 | And as long as the pin is selected
there, it'll stay pinned to whatever
| | 01:56 | location you drag it to.
| | 01:57 | If you unpin it, it'll start
jumping to your selection again.
| | 02:02 | Now, when it comes to adjusting amplitude,
you should always keep an eye on the
| | 02:04 | level meter down here.
| | 02:06 | As a general rule, don't increase
your volume to the point where these two
| | 02:09 | indicators at the end here turn red.
Just to give you an example...
| | 02:13 | (male speaker: --for a character. After that,
we'll take a look at inverse kinematics and
| | 02:17 | the various inverse kinematics tools as well--)
| | 02:20 | This indicates that your level
has clipped, and you probably
| | 02:23 | heard a little bit of distortion that
appeared when I drag the levels too high.
| | 02:26 | The reason these stay red is because you
might not always notice of a portion of
| | 02:29 | your recording has clipped.
It might just be a split second.
| | 02:32 | So when you do glance down here, you'll know
that something was too loud at some point.
| | 02:36 | You can go back through
and try to find the problem.
| | 02:38 | You can turn these red lights off
again just by clicking them, and I'm just
| | 02:41 | going to undo my last change here.
| | 02:43 | All right, so that's the Amplitude
Adjustment tool for increasing or decreasing
| | 02:46 | the volume of selections
you make in your waveform.
| | Collapse this transcript |
| Fading clips| 00:00 | There will definitely be times when you
won't want your audio clips to begin and
| | 00:03 | end abruptly, but instead
gradually fade in and out.
| | 00:06 | In either ones of the Waveform
Editor, you'll see these two boxes.
| | 00:09 | I've got one right here and one right here.
| | 00:12 | These are the Fade Controls,
and they're very simple to use.
| | 00:14 | Now, for this example I've opened the
file called interview_BD.wav, and this is
| | 00:19 | a clip from an outdoor interview.
| | 00:21 | Let's listen to the first few seconds.
| | 00:23 | (male speaker: Well, we have one farm
in Ojai, where we've been since--)
| | 00:28 | Now you should have heard that
the sound stopped pretty abruptly there.
| | 00:31 | Because this was recorded outdoors,
we're hearing a lot of ambient background
| | 00:34 | noises at the beginning, and it's
kind of a harsh way to begin the clip.
| | 00:37 | So what I'll do is click this Fade
In icon and drag it to the right.
| | 00:41 | Notice this drags out a line.
This indicates the speed of the fade.
| | 00:47 | By dragging more or less horizontally to
the right, I'm creating a very even fade in.
| | 00:50 | So the clip will start from silence
and then fade up into full volume.
| | 00:53 | And you want to place the top end of
the yellow line right at the point where
| | 00:57 | you want the clip to be at full volume,
basically right where the dialog starts there.
| | 01:01 | Now let's listen.
| | 01:05 | (male speaker: Well, we have one farm in--)
| | 01:07 | So right away that's sounding
a little better to my ears.
| | 01:10 | You can still hear that background noise,
but now it fades in so it's not as jarring.
| | 01:14 | I'm just going to undo that.
| | 01:17 | Now, you can actually adjust the timing
of the fade by dragging your mouse up or
| | 01:20 | down while dragging to the right.
| | 01:21 | I'm going to zoom in a bit on the waveform here.
| | 01:23 | So I'm going to drag the fader to
the right but also slightly down.
| | 01:28 | Notice the curve that's put in the fader line.
| | 01:31 | You can also see what it's
doing to the waveform itself.
| | 01:33 | As I drag to the right, you can see it's
affecting that waveform in real time there.
| | 01:37 | But by dragging it down this way, I'm
going to have a longer period of silence
| | 01:43 | at the beginning and then the volume is
going to swoop up to full volume right
| | 01:45 | before the interviewee starts talking.
| | 01:47 | So again, I'm going to place the end
of this right before he starts talking.
| | 01:52 | And let's see what that sounds like.
| | 01:56 | (male speaker: Well, we have one farm--)
| | 01:58 | And that sounds much better to me.
Now you can also go the other way.
| | 02:01 | I'm going to do that fade in.
| | 02:04 | If you want a really fast fade in, you
can drag up as you drag to the right.
| | 02:07 | That puts the opposite type of curve in there.
So that barely gives you a fade at all.
| | 02:11 | And it might be appropriate for some
scenarios where you don't have a lot of
| | 02:13 | dead space to play with at
the beginning of your clip.
| | 02:15 | But for this example, I like it the other way.
| | 02:17 | So I'm going to drag that back down,
and that might fade back in like that.
| | 02:23 | And you can do the same
thing at the end of the clip.
| | 02:25 | Let's listen first.
| | 02:28 | (male speaker: --in very close proximity to
the rest of our life, and that our other--)
| | 02:34 | Okay, so here at the end,
we have a bit of what he was
| | 02:36 | continuing to say, but I want this
clip to end right before that, basically,
| | 02:40 | right where this waveform is.
| | 02:41 | But if I drag the Fade Out box
straight across to that point, you can still
| | 02:45 | kind of hear, and you can even see that I'm still
going to hear what's going on at the end there.
| | 02:50 | (male speaker: --the rest of our life,
and that our other--)
| | 02:52 | So it kind of fades out,
which might be an effect that we want
| | 02:55 | to go for, but in this case, I
want it out of there completely.
| | 02:57 | So I'm going to undo by hitting Command
+Z, or on PC Ctrl+Z. Now, yes, I could
| | 03:03 | just select this and delete it, but
just for this example, I'm going to drag my
| | 03:07 | Fade box over to the left and down.
| | 03:11 | And I'm just keeping an eye on
that waveform as I shrink it.
| | 03:14 | I basically want it gone.
And there's my fade.
| | 03:19 | (male speaker: --to the rest of our life.)
| | 03:22 | So we don't hear any of
that original audio anymore.
| | 03:24 | Now if you find yourself doing these
sorts of curved fades more frequently than
| | 03:28 | you do a straight linear fade, you can
go to Audition > Preferences, or Edit >
| | 03:32 | Preferences on Windows, and under the
General section, here you can choose
| | 03:36 | Cosine, or S-curve, under the Default Fade Curve Type.
| | 03:42 | So as you can see, when I drag in--
let's go to the beginning here--you can
| | 03:46 | see the curve has more of this S-shape to it
even though I'm just dragging horizontally.
| | 03:49 | So that just gives me, again, a little
bit more silence at the beginning, and
| | 03:52 | then it swoops up to full volume.
| | 03:54 | Now you can still drag up and down to
increase or decrease the fade speed,
| | 03:58 | you just might not have to do it as much
vertically with the S-curve as your default.
| | 04:02 | Okay, and that's how to fade clips in and out.
| | Collapse this transcript |
| Normalizing| 00:00 | Let's talk for a bit about Amplitude
and how loud your audio file should be.
| | 00:04 | As a general rule, you want the loudest
points of your audio file to just about
| | 00:07 | reach the 0 dB mark on the Amplitude scale.
| | 00:10 | I'm just going to zoom out a
little bit so you can see it.
| | 00:12 | We have 0 dB right there, and again
it's above and below since the scale goes
| | 00:16 | both ways of the center line here.
| | 00:18 | 0 dB is considered to be the optimal
level for digital audio, and ideally, you
| | 00:23 | should record your audio
so that it's at this level.
| | 00:25 | But you're always going to have some
recordings that are a little quieter and
| | 00:28 | could stand to be a little louder.
| | 00:29 | For example, I have this interview_BD.wav
file still open, and I can see that
| | 00:33 | its loudest point is probably right around here.
| | 00:35 | There's another spike over here.
| | 00:37 | And that goes to about the -4, -5 dB
level there, but those were the loudest
| | 00:43 | points of the entire file.
| | 00:45 | The spikes in the rest of the file are
all between round -10 dB to -8 dB or so.
| | 00:50 | So in this movie, I'm going to show you
the process of normalizing your audio,
| | 00:53 | which is the process of raising the
amplitude of your audio file so that its
| | 00:57 | loudest points reach 0 dB or as
close as 0 dB as you want to get.
| | 01:01 | Many people prefer to take their audio
to -0.1 because remember, anything over 0
| | 01:05 | dB runs the risk of
clipping or distorting your audio.
| | 01:08 | Now technically, normalizing
isn't just for increasing volume.
| | 01:11 | If you have a really loud file that goes
over 0 dB, you can also normalize it to
| | 01:15 | bring its loudest points below 0 dB.
| | 01:17 | But normalizing tends to be used most
frequently for increasing the level of audio.
| | 01:21 | Plus, if you have a file that's over 0
dB, it's probably clipped and distorted
| | 01:25 | to places, and normalizing can't
fix that kind of digital audio noise.
| | 01:29 | So, probably the quickest way to
normalize a file is to go to the Favorites
| | 01:32 | menu, and here you'll find a lot of
commonly applied effects, including
| | 01:36 | Normalize to -0.1 dB and Normalize to -3 dB.
| | 01:42 | Since I want to make my file as loud as possible
without clipping, I'll take it -0.1 dB.
| | 01:46 | But first, let's listen to
the beginning of the file.
| | 01:49 | Keep an eye on the level meter down here.
| | 01:54 | (male speaker: Well, we have one farm
in Ojai, where we've been since 1998,
| | 02:00 | and that is, really, an urban farm.)
| | 02:04 | So you can see I still have
a decent amount of breathing room
| | 02:06 | once we get past the opening
part of the recording here.
| | 02:08 | So I'm going to select
Favorites > Normalize to -0.1 dB.
| | 02:14 | Audition takes a second to process it,
and just like that, we have now increased
| | 02:17 | the overall volume of the entire file so
that its loudest point reaches -0.1 dB.
| | 02:22 | Let's listen and watch the meter again.
| | 02:26 | (male speaker: Well, we have one farm in Ojai,
where we've been since 1998, and that is--)
| | 02:32 | So you should be able to hear and
see the difference in this case.
| | 02:35 | We came right up to just under 0 dB.
| | 02:39 | Now, since normalization raises the
entire overall level equally, there should
| | 02:42 | be no relative difference
in volume within the track.
| | 02:45 | No single section is any louder or quieter than
any other section than it was before normalization.
| | 02:50 | So that's a really quick way to normalize.
| | 02:52 | Now, one issue here is that as I
pointed out a moment ago, the spike here is
| | 02:56 | about 3 or 4 dB louder than
the rest of the recording.
| | 02:59 | But because it's the loudest point--
actually this is probably the loudest point
| | 03:03 | here--Audition uses that as a
reference, and took it to the -0.1 dB level.
| | 03:09 | The rest of the track is still
peaking at about the -3 dB level.
| | 03:13 | So overall, this file could
still be a little bit louder.
| | 03:15 | I'm going to undo my normalization for a moment.
| | 03:18 | So one way I can normalize my file so
that the majority of it can be a little
| | 03:21 | bit louder is to manually reduce
the amplitude of these larger spikes.
| | 03:25 | I'm just going to zoom in on this one
here, and I'm just going to try to select
| | 03:29 | the portion of the waveform that's loudest.
| | 03:32 | I'll zoom in a little bit more.
| | 03:34 | And I'm going to reduce the
selection by maybe about 3 dB.
| | 03:38 | Now, this is going to be imperceptible
since it happened so fast, but I've now
| | 03:43 | effectively reduced the loudest portion
of my recording, which means that when I
| | 03:46 | normalize, I'll be able to increase
the overall recordings level more.
| | 03:49 | If I play this, you shouldn't
hear any difference at this point.
| | 03:52 | (male speaker: So that's the best--)
You see how quickly that goes by.
| | 03:54 | That's just the word so.
(male speaker: So that's the best of--)
| | 03:57 | So that. Now, there is another portion of the
recording that's a little bit louder, and
| | 04:01 | that's at the very beginning.
So we can see this here.
| | 04:04 | And again, let's do a quick
selection and just reduce it down.
| | 04:08 | And I can even do this visually just to
make sure it matches about the size of
| | 04:11 | the rest of the waveforms around it.
And again, we shouldn't hear a difference.
| | 04:15 | (male speaker: Well, we have one farm--)
| | 04:18 | So now, I want to select Favorites >
Normalize to -0.1 dB.
| | 04:23 | You can see that the overall
file now looks much larger.
| | 04:25 | It gave me more breathing room, and
now my file is able to get louder.
| | 04:30 | (male speaker: Well, we have one farm
in Ojai, where we've been since 1998, and that is--)
| | 04:37 | But nowhere is this getting
any louder than -0.1 dB.
| | 04:41 | So that's normalizing.
| | 04:42 | Now, if you want to normalize to a level
other than -0.1 or -3 dB, you can go to
| | 04:47 | the Effects menu and choose
Amplitude and Compression and Normalize.
| | 04:52 | Here, just select dB and then drag the number
to the level you want to normalize to.
| | 04:56 | So if I wanted to normalize to, say,
-2 dB or 2.5 dB, I could do that.
| | 05:01 | I'm just going to cancel out of this for now.
| | 05:04 | Now, you can accomplish what we've
done here with Compression, and we'll talk
| | 05:07 | about that in a later chapter, but if
you're just looking to quickly increase
| | 05:10 | the overall level of your file, it
doesn't get much faster than just going to
| | 05:13 | the Favorites menu and
choosing Normalize to -0.1 dB.
| | Collapse this transcript |
| Copying, cutting, and pasting| 00:00 | Like just about every other content
creation program out there, Audition gives
| | 00:04 | you the ability to select content and
then either copy or cut it, both of which
| | 00:08 | place the selection into your clipboard,
and then you can paste the selection
| | 00:11 | into a different part of your file
or into a completely different file.
| | 00:14 | For this example, I'm using the song
Breakdown Mode, which you'll find in your
| | 00:17 | Exercise Files folder,
but any audio file will do.
| | 00:19 | Let's listen to the first few seconds.
| | 00:22 | (music playing)
| | 00:39 | All right. So maybe I really like that opening
beat, and I want to use it as a sample in
| | 00:42 | another track I'm working on.
| | 00:43 | I'm going to zoom in to the beginning
just by dragging the Navigator Selector
| | 00:48 | here, and let me just give this a quick listen.
| | 00:51 | (music playing)
| | 00:54 | So it's a pretty repetitive drum
part here, and I'm just going
| | 00:57 | to select the very first beat, that's
the first bass drum kick there, followed
| | 01:04 | by a snare, followed by
another bass drum hit here.
| | 01:07 | I am just going to try to select just that.
| | 01:10 | Now, I'm going to turn on the Loop
Feature here, so it will loop my selection
| | 01:13 | over and over again, so I can make
sure I got a clean selection here.
| | 01:16 | (music playing)
| | 01:21 | Works for me! Turn that off there.
So that sounds pretty good.
| | 01:24 | When you have a selection made, it's
a simple matter to copy it by choosing
| | 01:28 | Edit > Copy or by pressing the universal
keyboard command of Command+C on the Mac,
| | 01:32 | or Ctrl+C on Windows.
| | 01:34 | That copies the selection to your clipboard.
| | 01:37 | Now, I'm free to paste this selection
into another part of my file, or into a
| | 01:40 | completely different file.
| | 01:42 | Just to illustrate this, I'll scroll
over to about 2 minutes into the song, and
| | 01:47 | I've got a bit of a breakdown coming up here.
Let's give it a listen.
| | 01:49 | (music playing)
| | 01:52 | Of course, I need to
deselect my selection there.
| | 01:54 | I am also just going to
keep playing my selection.
| | 01:55 | So I'll do that again.
(music playing)
| | 02:09 | So maybe I want to insert my copied
selection in here to further
| | 02:12 | break down the song before the guitar
comes back in, and I think that point is
| | 02:15 | right around the 2 minute 10-second mark.
| | 02:18 | Then I'm going to start to
zoom in and listen there again.
| | 02:20 | (music playing)
| | 02:27 | So yeah, right about there.
(music playing)
| | 02:32 | So, I'm going to place my
playhead where I want to paste my
| | 02:35 | selection into, and then I'll either
choose Edit > Paste or use Command or
| | 02:39 | Ctrl+V. I paste my selection in.
| | 02:42 | Now realistically, I wouldn't be doing
this with a single track MP3 if I was
| | 02:45 | trying to do professional work.
| | 02:46 | I'd be working with the original multi-
track file and using beat markers to make
| | 02:50 | sure everything was really lined up precisely.
| | 02:52 | But I'm just using this to
illustrate how copy and paste can work.
| | 02:54 | Let's give this a listen.
| | 02:55 | Of course, I need to click off to
deselect, so I don't just play the selection.
| | 03:00 | (music playing)
| | 03:07 | So it was very brief there,
but I was able to add that slightly
| | 03:10 | broken down part there where
we just hear the drums again.
| | 03:13 | So now I've copied a part from the
beginning of my track and pasted it into the
| | 03:16 | middle, and this is really a pretty easy
concept to understand if you understand
| | 03:19 | copying and pasting from Word Processing.
| | 03:21 | I am just going to hit Undo and paste it
in again, just so I have it selected again.
| | 03:28 | Now, of course, you can also
cut selections from your file.
| | 03:30 | If you want to remove it from its
current location, you can press Command or
| | 03:33 | Ctrl+X or choose Edit > Cut.
I'll use the keyboard command.
| | 03:38 | This is similar to copying because cutting
also copies your selection to your clipboard.
| | 03:41 | But unlike copy, cutting
removes a selection from the file.
| | 03:45 | But if I wanted to, I could open
another file now or create a new one and paste
| | 03:48 | my cut selection into it.
| | 03:49 | Now, even though copy, cutting, and
pasting work just like they do in any other
| | 03:54 | application, Audition
does offer a bit of a bonus.
| | 03:57 | If you look under the Edit menu,
you'll see we have the option to Set Current
| | 04:01 | Clipboard and that reveals that we in
fact have five different clipboards to
| | 04:04 | choose from in Audition.
| | 04:05 | Normally, in most applications when
you copy something, it stays in your
| | 04:09 | computer's clipboard and you can paste
that into as many files as you like until
| | 04:12 | you copy something else, at which point
your original selection is overwritten
| | 04:15 | by the new item you have
copied to the clipboard.
| | 04:17 | But when you're working with audio, it
can be convenient to have more than one
| | 04:20 | clipping saved at a time.
| | 04:22 | Maybe you're working in radio, and you
have a station ID you need to append to
| | 04:25 | the end of every recording as well as
some theme music that you need to add at
| | 04:28 | the beginning of every recording.
| | 04:29 | What you can do is select one of your items.
| | 04:32 | I'll just select a couple of random
seconds here, and you can choose Edit > Copy
| | 04:36 | just like normal to move the
selection to your clipboard.
| | 04:40 | Then select the next bit of audio you
want to have copied, choose Edit > Set
| | 04:45 | Current Clipboard, pick a different
clipboard--in this case, Clipboard 2.
| | 04:49 | Now, when I choose Copy, you can see
that Clipboard 2 is no longer empty.
| | 04:54 | I have now copied something to it.
| | 04:56 | You just continue through your
project, selecting what you want to copy.
| | 04:59 | Set this to my Clipboard 3.
| | 05:02 | Notice there are keyboard commands for this,
and when I copy, now Clipboard 3 is occupied.
| | 05:09 | All right! Just to see how this plays out,
let's create a new audio file.
| | 05:13 | Let's leave the settings as they are, and now
I can paste in any of my three selections.
| | 05:20 | I'll switch back to Set My Current
Clipboard to Clipboard 1, and I'll choose
| | 05:24 | Paste, and there's my first selection.
| | 05:26 | I'm just going to click off to deselect
that, then I'm going to go to the end of
| | 05:29 | the track, switch to Clipboard 2.
| | 05:34 | I'll use a keyboard command in this case,
Command+V or Ctrl+V on Windows, paste
| | 05:38 | that in, and again I'll click off to
deselect, go to the very end, and set the
| | 05:44 | clipboard to Clipboard 3, paste one more time.
| | 05:49 | Now, this is going to sound like a big
mess, but you'll definitely hear that
| | 05:52 | there are three different selections
that were pasted into this track.
| | 05:55 | Back to the beginning, and unloop this
because we probably only need to hear it
| | 05:58 | once, and I'll play it.
(music playing)
| | 06:08 | Now one more time.
(music playing)
| | 06:17 | So those are definitely three separate
pieces in there right now.
| | 06:19 | And bear in mind that you have up
to five clipboards to work with.
| | 06:22 | Now, let's go back to the original song.
| | 06:26 | Now, if you need to pull out a
selection from one track and paste it into a
| | 06:28 | brand-new track like we just did,
there's actually a shortcut that's much faster
| | 06:32 | than copying or cutting
and pasting the selection.
| | 06:35 | Just make your selection, and then
under the Edit menu, choose Copy to New to
| | 06:39 | keep your selection in the current file
while creating a copy in a brand-new file.
| | 06:43 | Notice I'm looking at a brand-new
track here, Untitled 4, and it contains all
| | 06:48 | the audio I had selected in the original track.
| | 06:50 | This file has the same properties as
that clip as well, meaning in this case
| | 06:53 | that it has got a sample rate of 44.1,
it's in 32-bit, and it's stereo.
| | 06:57 | (music playing)
| | 07:00 | So that's a really quick way
to grab a selection of audio and
| | 07:03 | put it into its own file.
| | 07:05 | Now, Audition also has a Crop feature
that lets you get rid of everything except
| | 07:08 | what you have selected.
| | 07:09 | So it's kind of the opposite of the Cut command.
I'm just going to make a selection here.
| | 07:14 | Select this first second of music,
and I'm going to choose Edit > Crop or
| | 07:20 | Command+T. That deletes everything but what I had
selected, and all I have left is my selection.
| | 07:25 | You can see it's exactly 1 second long.
| | 07:28 | (music playing)
That's it!
| | 07:31 | So this is a useful shortcut if you just
want to work with a small selection and
| | 07:34 | get rid of the rest of your file.
All right!
| | 07:37 | So there you have the Copy, Cut, Paste,
and Cropping commands in Audition.
| | Collapse this transcript |
| Undoing, redoing, and using the History panel| 00:00 | All right! I'm going to go and open a file we've
already worked with called maya_intro_raw.
| | 00:06 | Now, if you have been watching the
previous movies in this chapter, you've seen me
| | 00:09 | use the Undo command several times.
| | 00:11 | So, for example, if I zoom in a bit to
the beginning, and I select this little
| | 00:16 | bit of silence here and delete it, I
can as with many other applications take
| | 00:22 | back the last action I
performed by choosing Edit > Undo.
| | 00:25 | Notice that Undo is followed by the
description of what I did, in this case Undo
| | 00:28 | Delete Audio, so I have a clear
understanding of exactly what I'm undoing.
| | 00:32 | So I'll choose that and the part
that I deleted is now restored.
| | 00:37 | As you might expect,
Audition also has a Redo command.
| | 00:39 | So if I change my mind again and
decide that I do want to, in fact, get rid
| | 00:42 | of that selection, I can just choose Edit >
Redo Delete Audio, and now it's gone again.
| | 00:49 | The commands for Undo and
Redo are fairly universal.
| | 00:52 | It's Command or Ctrl+Z on Windows
for Undo, and Shift+Command+Z or
| | 00:56 | Shift+Ctrl+Z to Redo.
| | 00:58 | Now, you might have noticed there's also
an option here called Repeat Last Command.
| | 01:01 | This is useful if you want to apply the same
command to multiple selections or files.
| | 01:06 | For example, I'll just select a small
section of audio here, and maybe I want to
| | 01:10 | increase its amplitude by about 3 db.
| | 01:12 | Now maybe I want to do the same
thing to another section of my audio.
| | 01:16 | But instead of having to make a
selection and then dragging across the Amplitude
| | 01:19 | tool to precisely the same level again,
I can just do my selection and then
| | 01:23 | choose Edit > Repeat Last Command, and
you can see that it now says Amplify--or
| | 01:27 | even more efficiently, I can make a
selection and press Command or Ctrl+R to
| | 01:33 | keep redoing that same command.
| | 01:35 | This way, I can work very quickly by
keeping my right hand on my mouse and my
| | 01:38 | left hand on my keyboard to apply my changes.
| | 01:40 | Now, before I go any further, I'm going
to apply some other effects to this file.
| | 01:43 | It doesn't really matter what I do, I'm just going
to come in here and maybe choose some compression.
| | 01:47 | I'll just choose one of the defaults here.
| | 01:52 | I'll apply that.
| | 01:57 | I'll go to the Favorites menu, I'll choose
Telephone Voice, and I'll normalize it, okay.
| | 02:06 | Now, just in case you're
curious, it sounds like this now.
| | 02:08 | (male speaker: --as well as how
to use those tools to create--)
| | 02:12 | But it doesn't really matter
what I've applied.
| | 02:14 | I just want to build up a couple of
changes so I can show you the History panel,
| | 02:18 | and it's located down here in
the default Audition workspace.
| | 02:20 | Notice it gives me a top to bottom
list of everything I've been doing to this
| | 02:24 | file since I opened it.
| | 02:26 | The most recent change here is down
at the bottom, and that's the Normalize
| | 02:29 | command I just applied.
| | 02:31 | So, this is a good way to see all the
changes I've made to a file at a glance.
| | 02:33 | Notice if I press Command or Ctrl+Z on
my keyboard, the little handle next to
| | 02:39 | the most recent step goes back up to
the previous step. I can also click any
| | 02:43 | step in my history to jump back to that point.
| | 02:45 | So if I wanted to revert back to the
file the way it was when I first opened
| | 02:48 | it, I just click Open instead of choosing
Undo multiple times to go back step by step.
| | 02:54 | Then I can also jump forward back to the
most recent change by clicking--in this
| | 02:57 | case Normalize--and instantly, it will
reapply all the changes in between again.
| | 03:02 | You can also remove history
steps if you don't need them anymore.
| | 03:04 | For instance, I can delete this
Normalize command by selecting it and then
| | 03:08 | clicking the Trash Can icon.
| | 03:10 | I'm given this warning saying, "This
can't be undone," which I'm okay with, so
| | 03:12 | I'll say Yes, and it's gone.
| | 03:14 | Now, you can also select steps in
the middle and click the Trash as well.
| | 03:20 | But notice, that deletes all
the subsequent steps below it.
| | 03:24 | So, you can't remove an isolated
step or action from the middle.
| | 03:27 | Everything that followed
it will be deleted as well.
| | 03:30 | Now, if for instance, I wanted to start
from scratch with this file again, I can
| | 03:33 | just click the menu button
here and choose Clear History.
| | 03:36 | That's just a quick way to get rid of everything
you have done since you opened the file.
| | 03:41 | Now, just so you know, the steps in
your files history are saved to a temporary
| | 03:44 | file on your computer, which technically
gives you an unlimited amount of undos.
| | 03:48 | You can apply several dozen changes and
still step back through them, but that's
| | 03:51 | only as long as you haven't closed your file.
| | 03:53 | Once you closed a file and have
presumably saved it, the history is wiped out,
| | 03:57 | and you won't be able to step back
through the changes when you reopen it.
| | 04:00 | So that's the History panel, which you can use
to undo and redo changes in your audio files.
| | Collapse this transcript |
| Generating silence| 00:00 | Okay. This is going to be a relatively
short movie on how to generate silence.
| | 00:04 | You'll occasionally want to create silence
in your audio files for a variety of reasons.
| | 00:08 | Maybe your audio starts too abruptly
for the project you're working on, and you
| | 00:11 | need a couple of seconds of
silence at the beginning, for example.
| | 00:14 | I have the maya_intro file opened here.
| | 00:16 | As you can see, it begins almost right away.
(male speaker: Hi, I'm George--)
| | 00:20 | I like to add a little bit
more silence at the beginning.
| | 00:23 | To do this, just place your playhead at the very
beginning, and choose Edit > Insert > Silence.
| | 00:31 | This gives me a window where the only option
is to determine how much silence I want.
| | 00:34 | I'll put in 5 seconds and
click OK, and that's it!
| | 00:39 | I now have 5 seconds of
silence at the beginning of my file.
| | 00:41 | I can play it for you, and you
can listen to all that silence.
| | 00:48 | You might also find this useful to do
when you're working in a multitrack file,
| | 00:52 | maybe one track needs to play for
about 5 seconds before the audio from the
| | 00:55 | second track kicks in.
| | 00:56 | You can just add in 5 seconds of
silence to the beginning of that second track.
| | 00:59 | Now, you can also select a part of your
file and then choose to insert silence,
| | 01:05 | Edit > Insert > Silence if you
want to mute that portion of the file.
| | 01:10 | Making a selection first gives me the exact
duration of that selection in this box.
| | 01:14 | So, if I click OK, just that part of silence.
I am going to Undo that.
| | 01:19 | Because if you want your silence to be
the exact length of your selection, you
| | 01:22 | can actually do this much more
quickly by choosing Effects > Silence.
| | 01:26 | It does the exact same thing, but you don't
have to go through that Duration dialog box.
| | 01:30 | I will just undo that again.
| | 01:32 | Now, inserting silence is different than
simply deleting your selection, because
| | 01:36 | when you delete a selection, the gap
that selection previously took up is
| | 01:40 | closed, and your audio file becomes shorter.
| | 01:42 | I am going to undo that again.
| | 01:43 | When you insert silence, the length
of your entire file stays the same.
| | 01:46 | You're just effectively muting that portion.
| | 01:49 | Maybe you need to edit out sensitive
content, or mute an offensive word, but
| | 01:53 | whatever the case, that's how you
generate silence into your audio files.
| | Collapse this transcript |
|
|
5. Cleaning and Repairing AudioUsing the Spectral Frequency Display| 00:00 | In this chapter, we're going to look
at some of the tools in workflows for
| | 00:03 | cleaning up and repairing audio.
| | 00:05 | And to me, this is a spot
where Audition really shines.
| | 00:08 | It has some incredible tools for fixing several
common problems that might crop up from time to time.
| | 00:12 | You can remove unwanted sounds, lower
background noises, and quickly perform all
| | 00:16 | kinds of other repair work to your files.
| | 00:18 | The majority of this work is going to be
done in the Spectral Frequency Display.
| | 00:22 | Up until now, we've been working
primarily here in the Waveform Editor.
| | 00:24 | We've seen that to view the Spectral
Frequency Display, you can just click its
| | 00:27 | button up here, and that splits your
screen showing the waveform at the top and
| | 00:31 | the Spectral Frequencies at the bottom.
| | 00:33 | Using these two displays in
conjunction can help you identify and
| | 00:35 | isolate certain sounds.
| | 00:37 | You can adjust the size of each pane
by dragging the divider up and down.
| | 00:40 | If you're working primarily with the
Spectral Display, you might want to
| | 00:43 | increase its size like so.
| | 00:44 | And again, while the Waveform Editor
shows you amplitude, the Spectral Display
| | 00:48 | shows you the frequencies for that recording.
| | 00:50 | And the brighter the area of the display,
the louder that particular frequency is.
| | 00:53 | The darker the spots, the quieter.
| | 00:55 | Now, the lower frequencies are at the bottom
of the scale and the higher ones are at the top.
| | 00:59 | I'm just going to expand this all
the way up so we're seeing just the
| | 01:02 | Spectral Frequency Display.
| | 01:03 | I'm just going to zoom in a
little bit more, here we go.
| | 01:07 | Now the human range of hearing is
between about 20 Hertz and 20 Kilohertz, so
| | 01:11 | that's approximately the range that
we see here in the Spectral Display.
| | 01:14 | Although because I'm using a slightly
smaller monitor resolution, you can't see
| | 01:17 | quite the scale here on the right-hand
side, but basically, if you can see it in
| | 01:21 | the Spectral Display, you should be
able to hear the sound and vice-versa.
| | 01:24 | Now this file is just of a male voice speaking.
| | 01:27 | Let me play a little bit.
| | 01:29 | (male speaker: Hi, I'm George Maestri, and welcome
to Character Rigging in Maya.)
| | 01:32 | So you can see the brightest portions
are along the bottom of the frequency
| | 01:35 | range, right around the 500 Hertz range
and below, but there are frequencies in
| | 01:39 | the human voice that stretch all the way
into the highest frequency ranges here,
| | 01:42 | but they're just not as
prominent as the lower frequencies.
| | 01:44 | Let's switch over to a music file.
| | 01:46 | Here you can see the Spectral Field is
much more filled up, because instead of a
| | 01:50 | single voice, we have a bunch of
instruments and singing going on.
| | 01:53 | If I zoom in at the beginning here, you
can tell just by looking at this display
| | 01:58 | that there's a rhythmic pattern going on.
| | 02:00 | So we can see some very sharp beats
are going on here, and this bright
| | 02:04 | spot--maybe about 7 seconds in--
indicates that another sound comes in,
| | 02:07 | disappears momentarily--or at least drops out a little
bit momentarily--and then the sound increases again.
| | 02:13 | I'll play a few seconds here
so you can listen and watch.
| | 02:16 | (audio playing)
| | 02:33 | So you can see here,
this is where that organ starts to swell
| | 02:36 | in, followed by the guitar, which just
plays a few notes and then pauses, and
| | 02:39 | then they come in again over here.
| | 02:41 | As you get used to working with the
Spectral Display, you'll be able to pick out
| | 02:44 | individual sounds fairly
easily, at least some of the time.
| | 02:46 | And being able to see the sounds makes
it so much easier to fix problems, and
| | 02:49 | we'll start looking at how
to do that in the next movie.
| | Collapse this transcript |
| Using the selection tools| 00:00 | I'm working here with the
file 05_02_interview_phone.
| | 00:04 | Now if you look up in the toolbar area
of the screen, you'll see that I have the
| | 00:07 | Time Selection tool selected.
| | 00:08 | And in fact, it's the only tool
that's available to me right now.
| | 00:11 | It's the default and only tool up there
that you can use when you're working in
| | 00:14 | the Waveform Editor, and that's
what we use to make selections.
| | 00:18 | When I view the Spectral Frequency
Display, you can see that gives me access to
| | 00:21 | these four other tools over here.
| | 00:24 | And these are the tools that you'll
work in the Spectral Display area to select
| | 00:27 | and repair your audio.
Let me play this file for you.
| | 00:30 | (male speaker: --in 1982, and in about 1983
BD came through the back door. He's dedicated.
| | 00:39 | He's--he makes you want to cry
with how dedicated he is--)
| | 00:47 | Okay, so you probably heard that
right around the 12 to
| | 00:49 | 13-second mark of this interview
there's a phone chime that goes off.
| | 00:51 | I'll play that section again.
| | 00:53 | (male speaker: He's dedicated. He's--)
| | 00:57 | So it occurs while the person
being interviewed is speaking, so
| | 01:00 | just muting that section and replacing
it with a background noise isn't really
| | 01:03 | an option in this case.
| | 01:04 | And if you look closely at the Spectral Display,
you can actually see those chimes.
| | 01:08 | I'm going to zoom in on that area a little bit.
| | 01:10 | So as you can see, the chime actually
has multiple tones, and they show up in
| | 01:13 | three different areas of the Spectral Display.
| | 01:15 | We got one line here, one here, and one here.
| | 01:18 | And again, this is a stereo file so
we're seeing the same thing down here.
| | 01:21 | Now this grouping here is
actually the second ding.
| | 01:24 | The first one is a little harder to
see because it occurs as a speaker is
| | 01:26 | actually saying something, and it's
kind of hidden in this blob right here.
| | 01:29 | I'm going to play for you again.
(audio playing)
| | 01:34 | But in this case, because there
are two dings and I can see the
| | 01:37 | second one clearly, I have enough info
to get the general idea of where it is
| | 01:40 | and what it looks like.
| | 01:41 | So in order to remove or at least
reduce unwanted sounds, you have to be able
| | 01:45 | to select them in the Spectral Display, and
that's what these four tools up here are for.
| | 01:49 | Now, if you ever use Photoshop,
they probably look familiar to you.
| | 01:52 | Now, while the Time Selection tool
does work in the Spectral Display, you
| | 01:56 | probably won't find it all that useful.
| | 01:57 | It doesn't really do anything that
you can't do in the Waveform Editor.
| | 02:00 | Now, the next tool here is
the Marquee Selection tool.
| | 02:02 | It lets you select specific portion
of the Spectral Display as rectangular shapes.
| | 02:06 | Notice it draws in both
the left and right channel.
| | 02:10 | The Lasso tool is for drawing
irregular shapes, and the third tool is
| | 02:17 | the Paintbrush tool.
| | 02:18 | I'm just going to hit Command+D on my
keyboard, Ctrl+D on Windows, to deselect
| | 02:20 | my current selection.
| | 02:21 | Now, the Paintbrush tool is really
handy for irregular selections that might
| | 02:25 | need a little bit more finesse
than the Lasso tool can provide.
| | 02:27 | When it's selected, you can
choose a Brush Size and an Opacity.
| | 02:31 | And just like in Photoshop, you can
use the bracket keys on your keyboard to
| | 02:34 | increase or decrease the size of the brush.
| | 02:36 | And as you can see, this lets you sort of
paint in the area that you want to select.
| | 02:40 | And the more you paint over an area, the stronger
the selection and the more you can affect it.
| | 02:43 | I'll just drag over here quickly, because
that's just a much lighter selection there.
| | 02:47 | Notice I can also move my selection, in this case,
stretch it and then hit Command+D to deselect.
| | 02:54 | So the Paintbrush tool is just a selection
tool like the regular Marquee or Lasso tools.
| | 02:59 | The fourth tool is the Spot Healing tool,
and we'll be looking at that in the following movie.
| | 03:03 | But your overall goal should be to
select the tool that works best for selecting
| | 03:06 | the sound you want to fix or remove.
| | 03:08 | It's usually going to take some
experimentation, and you'll sometimes find that,
| | 03:11 | for example, both the Marquee tool and
the Healing Brush can accomplish the same
| | 03:14 | task, or you might find that a
combination of tools works best.
| | 03:17 | It really depends on your file
and what you're trying to do.
| | 03:20 | Now in this example I have these
relatively straight horizontal lines that make
| | 03:23 | up the unwanted sound.
| | 03:25 | So the Rectangular Marquee tool
is probably good for this job.
| | 03:27 | I'm going to draw a box around the
lowest horizontal line of both dings since
| | 03:32 | they sort of blend together.
| | 03:33 | I want to draw as close to the line
as possible, because I only want to
| | 03:36 | eliminate the unwanted sounds.
| | 03:39 | Now, after you make a selection, you
might want to check to make sure you
| | 03:42 | selected what you intended.
| | 03:44 | If you right-click on the Play button
down here, you can check Play Spectral
| | 03:47 | Selection Only, if it's not already selected.
| | 03:50 | So if I play this area, I'll
only hear what I have selected...
| | 03:54 | (audio playing)
| | 03:57 | And I can definitely hear that
lower tone ringing in there.
| | 04:00 | Now, as a side note, you can also right-
click the Play button and select Return
| | 04:03 | Playhead to Start Position on Stop.
| | 04:05 | This is useful if you need to keep
reviewing the same section and prevents you
| | 04:08 | from having to keep dragging the
playhead back to the beginning of the section.
| | 04:11 | But alternately, you can also just loop
your playback, and it'll just continue
| | 04:14 | to play that selection over and over again.
(audio playing)
| | 04:20 | So with the selection
made, I could just use the Amplitude
| | 04:23 | Controls here and reduce
the volume of the sound.
| | 04:26 | This might be useful if you have a
background noise that isn't exactly unwanted,
| | 04:29 | but just might be too loud.
| | 04:31 | But in this case, I want to
completely eliminate the sound.
| | 04:33 | So I'm just going to press
the Delete key on my keyboard.
| | 04:35 | I'll press Command+D or Ctrl+D to deselect.
| | 04:38 | And you can see that left a
blank area in the Spectral Display.
| | 04:41 | Remember, the darker the
area, the quieter the sounds.
| | 04:44 | So a black area is pretty much silent,
but this is such a narrow selection that
| | 04:48 | when I play back the problem area,
it's not that noticeable that something is
| | 04:51 | missing because the other
frequencies are still playing.
| | 04:53 | (audio playing)
| | 04:55 | But you should definitely be able
to tell that the dinging sound
| | 04:58 | has already been mitigated a bit.
| | 05:00 | So let's get rid of these other two areas.
| | 05:01 | Draw a box around the next line.
| | 05:03 | So again, I'm looking closely as I
can kind of see the first one poking out
| | 05:06 | from this blob here.
| | 05:08 | And I know it lines up with this one, so I'm
just going to drag a box around both of those.
| | 05:11 | It kind of goes all the way to here.
| | 05:14 | And again, I'll press Delete, again
I'll deselect, let's give that a listen.
| | 05:19 | (audio playing)
| | 05:22 | So now I'm only hearing
these higher tones.
| | 05:25 | Now these higher frequencies don't really run
into each other like the lower frequencies did.
| | 05:28 | I can still draw a single marquee around
both of them, but I usually like to try
| | 05:32 | to be as precise as possible and only
eliminate what's absolutely necessary.
| | 05:35 | So I'm going to draw two separate
marquees here, making sure I capture the
| | 05:38 | entirety of both of these.
Delete and Delete.
| | 05:46 | Again, I'll deselect, and let's listen.
(audio playing)
| | 05:50 | So how about that?
| | 05:53 | The chimes have been completely
removed from this recording, and I can still
| | 05:56 | hear what the speaker is saying
without any drops in the audio.
| | 05:59 | Now, this recording actually
has several problems with it.
| | 06:01 | You probably heard that clicking sound in the
background, which I think was a ceiling fan or something.
| | 06:04 | I'll play that for a little bit.
(audio playing)
| | 06:09 | And you can kind of
see these vertical lines that represent
| | 06:12 | these clicks that we're hearing.
| | 06:14 | Now this is a vertical line, so maybe I
can just draw a box around it as tightly
| | 06:18 | as possible and try to delete that.
| | 06:20 | Let's hear how that sounds.
First I have to deselect.
| | 06:22 | (audio playing)
That was not too bad.
| | 06:27 | But now there actually is one over
here that's a little tougher to get.
| | 06:31 | (audio playing)
Actually one here too.
| | 06:36 | I'll do this one first.
(audio playing)
| | 06:43 | Now, this one here actually occurs
in this blob where we can
| | 06:46 | hear the speaker's voice speaking.
| | 06:47 | So if I try to delete some of that
the same way, let's see how that sounds.
| | 06:52 | (audio playing)
| | 06:55 | So there's definitely
something noticeable going on there.
| | 06:58 | I probably took out too large a chunk.
| | 06:59 | But what I've done here is I've
taken out too many frequencies there.
| | 07:02 | So in this case, deleting those
frequencies didn't really do the job because
| | 07:06 | I've muted some of the
speaker, and it's pretty obvious.
| | 07:08 | So this is an instance where the Marquee tool
really isn't going to do the job for us.
| | 07:11 | Fortunately, we have another tool
--in this case, the Spot Healing
| | 07:15 | tool--that should work.
And we'll look at that next.
| | Collapse this transcript |
| Using the Spot Healing Brush| 00:00 | In the previous movie, I showed you how
to use the Selection Tools--specifically
| | 00:03 | the Rectangular Marquee tool--to
eliminate the sound of a cell phone dinging in
| | 00:07 | the background of this
interview we're listening to.
| | 00:09 | If you're going to be working along with
me, you can keep working on the file we
| | 00:11 | used in the previous movie, or you
can open 05_03_interview_clicks from the
| | 00:16 | Exercise Files folder to start
with this file already in progress.
| | 00:19 | As you can see here, these are the areas
where we eliminated the cell phone noise.
| | 00:23 | But this audio file has additional problems.
| | 00:25 | There's this constant clicking going on
in the background, from what I believe
| | 00:27 | might have been a ceiling fan.
Let's listen to the section we're working on.
| | 00:31 | (audio playing)
| | 00:34 | And we saw in the previous movie
that even though we can see the
| | 00:37 | vertical lines that represent a lot of
these clicks, you can't just select them
| | 00:41 | and delete them all because some of
them occur over the speaker, and deleting
| | 00:44 | the clicks will also delete the
sound of his voice at that moment.
| | 00:46 | So instead, I'm going to
select the Spot Healing tool.
| | 00:50 | The Spot Healing tool in Audition works much
like the Spot Healing tool does in Photoshop.
| | 00:54 | Basically, you just paint over the
blemish--or in this case, the problematic
| | 00:57 | audio--and then Audition examines the
surrounding frequencies and tries to use
| | 01:00 | them to cover up the trouble spot.
| | 01:02 | It's kind of like in Photoshop when you
use the Spot Healing brush to go over a
| | 01:05 | pimple on someone's face.
| | 01:06 | It fixes it by examining the skin tone
and the colors of the surrounding pixels
| | 01:10 | and blends them over the problem area.
| | 01:11 | So in this case, we have this clicking
sound that occurs simultaneously with
| | 01:14 | the person speaking.
| | 01:16 | I can see the majority of the
clicking sound right here, but a lot of it is
| | 01:20 | hidden within this blob,
which is the person's voice.
| | 01:22 | I'm going to use my bracket keys to
make my tool a little bit smaller here.
| | 01:25 | And I was going to brush over that area.
| | 01:27 | Audition process that for a moment,
and you can see that area is now
| | 01:32 | slightly darker, indicating the frequencies
there are lower or have been reduced in volume.
| | 01:36 | Let's take a listen.
(audio playing)
| | 01:41 | Still hearing a bit of a click there.
(audio playing)
| | 01:44 | And I think this hotspot here
might actually be part of it.
| | 01:47 | So let's brush over that, I
am seeing a little bit here.
| | 01:52 | This does involve a bit of experimentation to
see what you'll have to do to reduce sounds.
| | 01:56 | (audio playing)
And I believe I got it.
| | 02:02 | And I continue doing
the same with all the other problem
| | 02:05 | areas of this piece.
(audio playing)
| | 02:09 | So I quick double-click here,
I can clearly see the clicks here.
| | 02:12 | I probably should have made my brush
a little bigger, but that's all right.
| | 02:15 | Let's do this.
Let's see how that sounds.
| | 02:20 | (audio playing)
So I eliminated that second click in there.
| | 02:24 | Now, there's a lot of clicking going
on here, so if you want to practice with
| | 02:26 | this file, feel free and see if you can
get rid of all the clicks you can find.
| | 02:30 | The point is I was able to get rid of the clicks
without affecting the way the voice sounds.
| | 02:34 | So again, if you have access to the
exercise files, you can go through and see
| | 02:37 | if you can find and fix more of
them with the Spot Healing Brush.
| | 02:39 | It can be good practice to see if you
can spot the entire noise in a Spectral
| | 02:42 | Display, and you want to experiment
with different brush sizes to see how well
| | 02:45 | you can eliminate the sound.
| | 02:47 | You're going to find that the Spot
Healing tool works really well for some
| | 02:49 | things, but not very well for others.
| | 02:52 | But it can be really surprising and
satisfying to find how you can fix something
| | 02:55 | you thought was unfixable.
| | 02:56 | Let me show you one more example.
| | 02:57 | I'm going to open a file from my
exercise files called Nobody Else.
| | 03:03 | So rather than just one person talking,
this is a complete song with a bunch of
| | 03:07 | instruments and vocals
all playing simultaneously.
| | 03:09 | I'm going to jump to about maybe 15, 16
seconds in, and what we're listening for
| | 03:13 | here is this annoying squeak that
occurs every time the acoustic guitar player
| | 03:17 | shifts his fingers to change chords.
| | 03:19 | I'll play a few seconds and see if
you can hear what I'm talking about.
| | 03:21 | (audio playing)
| | 03:54 | Okay, so the sound I'm talking
about happened three times.
| | 03:57 | The first was back here
right around the 30-second mark.
| | 03:59 | Let's zoom in a little bit more.
| | 04:01 | See this bright spot right here.
| | 04:04 | I'll go ahead and select that--
I'll get my Selection tool here.
| | 04:07 | I'm just going to loop
that so you can listen to it.
| | 04:10 | (audio playing)
| | 04:12 | So you should be able to hear
that squeaking sound that's going on.
| | 04:15 | Here it is in context.
(audio playing)
| | 04:18 | Pretty annoying, right?
| | 04:21 | And once you hear that, you can't
not hear every time this plays.
| | 04:24 | Now, as you can see, the Spectral
Display is absolutely packed with frequencies
| | 04:27 | because we're listening to
a band in full swing here.
| | 04:30 | Which tool will be best for
getting rid of that squeak?
| | 04:31 | You could try the Marquee tool.
Draw around and delete.
| | 04:35 | Now, you might think a gaping hole
like this would be obvious, but let's see.
| | 04:39 | (audio playing)
| | 04:42 | But it's actually not too bad.
| | 04:45 | I mean, I can kind of hear
it, but it's not too bad.
| | 04:47 | I'm going to undo that.
Well, it's kind of an irregular shape.
| | 04:50 | What about the Paintbrush tool?
| | 04:51 | I'm kind of going to paint over that and
delete again, deselect, listen to that.
| | 04:57 | (audio playing)
That's actually a little bit better.
| | 05:01 | But I can still hear a little bit of it.
I'm going to undo again.
| | 05:06 | So what about the Spot Healing Brush?
| | 05:07 | Let's try a large blob
around that and let's listen.
| | 05:10 | (audio playing)
| | 05:17 | So that works pretty well for me,
and to my ears it sounds a
| | 05:19 | little bit more natural than just
cutting out that area altogether.
| | 05:22 | Plus, in this example it's much quicker
to paint over an area and have it auto
| | 05:25 | heal than to draw a marquee and press delete.
| | 05:28 | So if the two techniques accomplish
pretty much the same goal, I'm going to
| | 05:31 | go with a quicker one.
| | 05:32 | This way I can roll the song
and find the next instance.
| | 05:34 | (audio playing)
| | 05:39 | I see it coming up here.
| | 05:42 | That's only a small one, so
let's just paint in there.
| | 05:47 | (audio playing)
| | 05:54 | And one more bright spot here.
(audio playing)
| | 06:02 | Maybe a second time here.
I still kind of see that.
| | 06:06 | (audio playing)
| | 06:11 | All right, that's much better for me.
| | 06:12 | Now, this is really going to depend on
the file you're working on and the nature
| | 06:15 | of the unwanted sound.
| | 06:16 | But the point is you have several tools
at your disposal here, and now you should
| | 06:19 | have a decent understanding of how they work.
| | 06:21 | I should mention though, that these
tools are really for brief unwanted sounds.
| | 06:24 | If you have a long unwanted noise, maybe
like a background hum or just a general
| | 06:28 | room tone, you can't and shouldn't
really use selection-based tools for that.
| | 06:31 | We'll look at how to
tackle problems like that next.
| | Collapse this transcript |
| Removing background noises| 00:00 | We've seen how Audition can be a
big help when you have an audio file
| | 00:03 | with unwanted noises.
| | 00:04 | Using the Spectral Display, you can
quickly identify and remove or heal pops,
| | 00:08 | licks, and other problematic noises.
| | 00:11 | Now, as I also mentioned previously, these
tools are great for relatively short sounds.
| | 00:15 | But we also come across audio files
that have much longer unwanted sounds that
| | 00:18 | appear throughout the entire track.
| | 00:20 | This could be a noise like a tape hiss
or power line hum or just the natural
| | 00:24 | ambient background sound of
where the recording was made.
| | 00:27 | For those types of situations, you can
use Audition's Noise Reduction Effect.
| | 00:30 | It works by examining a sample of the
background noise that you select, and then
| | 00:34 | it tries to remove that
sound throughout the entire file.
| | 00:36 | I'm going to go ahead and open a file.
Let's go with the interview_BD file again.
| | 00:42 | And let's just split this so we can
see both the Waveform Editor and the
| | 00:46 | Spectral Display, and
I'll play a little bit of it.
| | 00:50 | (male speaker: Well, we have one farm
in Ojai, where we've been since 1998,
| | 00:56 | and that is, really, an urban farm.
We are in the city limits--the last
| | 01:00 | property in city limits--and we're about
one minute from a giant shopping center--)
| | 01:07 | So this was recorded outdoors,
and there's a lot of ambient noise.
| | 01:11 | Now that may be something you want
to keep and not completely eliminate.
| | 01:14 | It depends on what you're
trying to do with your file.
| | 01:17 | But first, let's capture the noise print.
| | 01:19 | The idea here is to select a portion
of the recording that contains just the
| | 01:22 | background noise and no
sounds that you want to keep.
| | 01:25 | You can see very clearly here in the
Waveform Editor where the dialog is and is not.
| | 01:30 | And in the Spectral Display--let me
make this a little bigger--you can also see
| | 01:34 | where our speaker is talking.
| | 01:35 | It's all the bright spots along the
bottom of the Spectral Display, and you can
| | 01:39 | also easily see the background noise,
the purplish speckles throughout that sort
| | 01:42 | of fill out the entire display.
| | 01:44 | So in order to capture a noise print,
basically a sample of the noise we want to
| | 01:48 | remove, we need to select it.
| | 01:49 | I'm just going to switch back
to the Waveform Editor for this.
| | 01:53 | At the very beginning of this file, we
have about a second and a half before our
| | 01:56 | subject starts speaking.
| | 01:57 | So I'm going to bring in my selector
here and to select just that silence.
| | 02:01 | Ideally, you want a selection
that's at least half a second in length.
| | 02:05 | You might want to loop your selection a
few times, and I do have the loop turned
| | 02:08 | on here, to make sure you're
only selecting background noise.
| | 02:10 | (audio playing)
So I have no speaking in there right now.
| | 02:16 | Once you have made your selection,
go to the Effects menu, to
| | 02:19 | Noise Reduction/Restoration, and you're
going to want select the Capture Noise Print.
| | 02:23 | Notice the keyboard command for this is
Shift+P. That's a good one to remember
| | 02:28 | if you do this a lot.
| | 02:30 | I get this message telling me that my
current selection is going to be captured
| | 02:32 | and loaded as a noise print, and it's
this noise print that Audition will use
| | 02:36 | when I run the Noise Reduction Effect.
I'll click OK.
| | 02:39 | So let's do that, let's run
the Noise Reduction Effect.
| | 02:41 | I'll go back to Effects > Noise Reduction/
Restoration and choose Noise Reduction.
| | 02:46 | Notice its keyboard command is Shift+
Command+P, on Windows Shift+Ctrl+P. Since
| | 02:51 | the Capture Noise Print and the Noise
Reduction Effect are used in conjunction
| | 02:54 | so often, their keyboard
commands are very similar.
| | 02:58 | Okay, so this is the Noise Reduction window.
| | 03:00 | Now, unlike when you have a windows
floating above your main window in other
| | 03:03 | applications, you can still control
Audition even though the Noise Reduction
| | 03:07 | window is floating on top.
| | 03:08 | For example, if I wanted to get a
different selection from my Noise Print, I can
| | 03:11 | move this window over, make a
selection and then click Capture Noise Print.
| | 03:16 | I can even still use the Playback
controls down here at the bottom.
| | 03:18 | (audio playing)
| | 03:23 | But I'm going to use
the Noise Print that I originally captured
| | 03:26 | and you can see here that it says Noise
Print Currently Set Noise Print, which
| | 03:30 | is the most recent Noise Print I took.
| | 03:31 | So I'm going to click to deselect that
so I'm not listening to just that section.
| | 03:36 | Now, you can see the Effect is currently
powered on, so I'm going to click Play.
| | 03:39 | So let me roll this back to the beginning.
| | 03:42 | You can see the playhead is
back at the beginning now.
| | 03:45 | So I'll click Play.
| | 03:48 | (male speaker: Well, we have one farm
in Ojai, where we've been since 1998--)
| | 03:54 | And you should already be
able to tell that the level of
| | 03:56 | background noise has been reduced.
| | 03:57 | While it's playing, you can toggle the
effect on and off with this Power button
| | 04:00 | here so you can compare the before and after.
| | 04:03 | (male speaker: --and that is,
really, an urban farm.
| | 04:06 | We are in the city limits--
the last property in city limits--
| | 04:10 | and we're about one minute
from a giant shopping center,
| | 04:15 | and you would never even
know that it was here.)
| | 04:17 | So we can definitely tell that
the noise reduction is working.
| | 04:19 | It does sound a little bit boxy right
now, but only a little bit, and that's
| | 04:23 | some of the trade-off you get when
you're removing background noises.
| | 04:25 | Not that you have to be content
with the default settings here.
| | 04:28 | You probably want to play around with
the Noise Reduction and Reduce by sliders.
| | 04:33 | Noise Reduction determines how much
of the Noise Reduction Effect you want
| | 04:36 | to apply, and Reduce by determines by how
many decibels you want to reduce the noise.
| | 04:39 | Notice that I moved the Noise
Reduction slider to the left,
| | 04:43 | the green areas in the
graph up here move as well.
| | 04:45 | What we're seeing here is a Noise Floor Graph.
| | 04:48 | It depicts the frequency of a noise
along the horizontal or X axis and the
| | 04:52 | amount of noise reduction
along the vertical or Y axis.
| | 04:55 | Looking here on the graph I can see
that the lower frequencies, the ones on the
| | 04:58 | left are louder than the higher
frequencies in the Noise Print Recaptured.
| | 05:02 | The yellow dot shows the highest
volume of noise in each frequency.
| | 05:05 | The red dot shows the
lowest volume in each frequency.
| | 05:07 | And green shows the volume
you're setting the Noise Reduction to.
| | 05:11 | So at 100% Noise Reduction, all the
noise we sampled is being eliminated, which
| | 05:15 | is why the yellow dots
are hidden behind the green.
| | 05:17 | And if I drag this down all the way, that's
the equivalent of No Noise Reduction at all.
| | 05:21 | Again, you have to listen to your own
recordings to determine how much noise you
| | 05:24 | want to remove with the Noise Reduction
slider and then how much you want to
| | 05:27 | reduce it by with the Reduce by slider.
| | 05:29 | So it's a good idea to just loop your
audio, have the Loop button on here, let
| | 05:33 | it play, and then play with
the sliders to suit your ears.
| | 05:36 | (male speaker: Once you're out on the farm,
you just feel like you're in some rural area,
| | 05:40 | so that's the best of both worlds
for me, because I have children,
| | 05:44 | they're in school in town here, there's a big
community of students, parents, friends that
| | 05:52 | are close by, so we get to do our farming--)
| | 05:57 | So that sounds pretty good to me.
| | 05:58 | Now, using this Noise Reduction slider
is just a one way to adjust your Noise Filter.
| | 06:02 | It can be a little bit heavy
handed since it reduces the effect on
| | 06:05 | all frequencies evenly.
| | 06:07 | There may be cases when you want to target
specific frequency ranges to reducing volume.
| | 06:11 | To do so, you can click the handles in
this blue line that runs across the graph
| | 06:14 | and you can drag them up or down.
| | 06:16 | And you can click anywhere else on the
line to make additional handles to apply
| | 06:22 | Noise Reduction to particular frequencies.
| | 06:26 | Again, it's something you'll have to
play around with on your own, and you may
| | 06:29 | find different levels of success with it,
depending on the files you're working on.
| | 06:32 | If you mess things up too badly,
you can click the Reset button here.
| | 06:36 | For this one I'm just going to leave it
as a flat line, and I'll make sure that
| | 06:39 | I'm applying this effect to my entire
file by clicking Select Entire file, and
| | 06:43 | then I'll click Apply.
| | 06:45 | Audition takes a few seconds to
process the effect, and there it is.
| | 06:49 | You can really see the areas of sounds
now are more flatlined instead of the
| | 06:53 | little fuzzy lines that we
saw between the speaking before.
| | 06:55 | Now if I look at the Spectral Display,
you can see a lot of the purplish specks
| | 06:59 | have been eliminated from the background
here as well, indicating that a lot of
| | 07:02 | the background noise has now been removed.
| | 07:04 | And if I play my file, I should
be able to hear that difference.
| | 07:06 | (male speaker: --in very close proximity to
the rest of our life, and that our other--)
| | 07:12 | So that's how to reduce or remove
background noise from your audio files.
| | Collapse this transcript |
|
|
6. Using Audition's Built-in EffectsUnderstanding destructive vs. nondestructive effects| 00:00 | In this chapter, we're going to be
looking at some of the key effects you
| | 00:02 | applied to your audio files in Audition.
| | 00:05 | Basically, effects are any processes you
apply that affect the sound of your audio.
| | 00:10 | We've already seen one effect in action
in the previous chapter when we saw how
| | 00:13 | to use the Noise Reduction
Effect to remove background noise.
| | 00:16 | So effects can be used to clean up or
fix your audio, but they can also be used
| | 00:19 | to enhance it by changing its tone or
pitch or to give it a different mood or
| | 00:23 | feel by adding
reverberation or changing its timing.
| | 00:27 | There's just a ton of things you can do
to your audio with Audition's effects.
| | 00:30 | I'm working with the file
here rob_welcome_audio.wav.
| | 00:34 | And it's just the audio track from a
welcome movie of another lynda.com course.
| | 00:39 | Let's listen to a few seconds of it here so
you can see what it currently sounds like.
| | 00:43 | (male speaker: Hi, I'm Rob Garrett, and I'd like
to welcome you to Cinema 4D R13 New Features.
| | 00:48 | We're gonna explore some key changes to my
favorite 3D animation package, Cinema 4D.
| | 00:53 | This new release has brought some important updates,
and I'm really excited to share them with you.)
| | 00:57 | Now before we get started,
it's very important for me to point
| | 01:00 | out the difference between
destructive and non-destructive effects.
| | 01:03 | There are two ways to add effects to your files.
| | 01:05 | We've previously seen that you can add
effects by going to the Effects menu and
| | 01:09 | from here you can select from
a variety of effects to apply.
| | 01:11 | For example, I'll go to Reverb
and I'll choose Convolution Reverb.
| | 01:17 | This is a tool that can drastically
change the sound of your recording to make
| | 01:20 | it sound as if it was recorded in one
of several different rooms or locations.
| | 01:24 | Now for the most part, all Effects windows
like this has some standard elements in common.
| | 01:27 | Then along the bottom, you'll find the
Power button, which is used to toggle the
| | 01:31 | effect on and off, so you can listen to
the difference between your audio file
| | 01:34 | as it is, and how it will
sound once you apply the effect.
| | 01:36 | Next to that is the Play button to
play your file, although you can still use
| | 01:40 | the playback controls down here as
well as the spacebar keyboard command.
| | 01:45 | And the Loop button is convenient
to have here as well, especially if
| | 01:47 | you're working on a short selection
and wanted to play in a loop as you
| | 01:50 | make your adjustments.
| | 01:51 | So, for example, I might want to
select just this first portion of audio here
| | 01:56 | and with loop on, it will continue to play.
| | 01:58 | (male speaker: Hi, I'm Rob Garrett, and I'd like
to welcome you to Cinema 4D R13 New Features.
| | 02:02 | We're gonna explore some key changes to my
favorite 3D animation package, Cinema 4D.
| | 02:07 | This new release has brought some important updates,
and I'm really excited to share them with you.)
| | 02:11 | (male speaker: Hi, I'm Rob Garrett--)
So that's looping.
| | 02:14 | And you should have already been
able to hear the difference to what this
| | 02:16 | sounded like before.
| | 02:18 | Now, depending on what effect you're
using, you're going to have a variety of
| | 02:20 | tools and interface elements in
the main part of the window here.
| | 02:24 | In this case, I can choose from my
bunch of preset rooms, and I can hear how
| | 02:27 | each selection affects my recording.
| | 02:29 | So I'll start playing this
again, and I'll make some changes.
| | 02:32 | (male speaker: --like to welcome you
to Cinema 4D R13 New Features.
| | 02:36 | We're gonna explore some key changes to my
favorite 3D animation package, Cinema 4D.
| | 02:41 | This new release has brought some important updates,
and I'm really excited to share them with you.)
| | 02:44 | (male speaker: Hi, I'm Rob Garrett, and I'd like
to welcome you to Cinema 4D R13 New Features.)
| | 02:50 | And of course, I can also manually make
adjustments using these sliders here.
| | 02:53 | Maybe I want to make the
room size a little bit smaller.
| | 02:55 | And I can hear how that
sounds by clicking the Play button.
| | 02:59 | (male speaker: We're gonna explore some key changes
to my favorite 3D animation package, Cinema 4D.)
| | 03:02 | And I can adjust some other sliders.
| | 03:04 | (male speaker: This new release has brought some important
updates, and I'm really excited to share them with you.)
| | 03:09 | So what you're going to see
in the main part of the Effects
| | 03:11 | window will vary depending on
what effect you have chosen.
| | 03:14 | At the top of the window, you'll usually
find presets if they're applicable to the effect.
| | 03:18 | You also have this button here that
lets you save any custom settings you might
| | 03:21 | have come up with as a preset.
| | 03:23 | So I'll click that, and maybe
I'll call this Small Damp Cave.
| | 03:26 | I'll click OK and that saves
my setting in the Preset menu.
| | 03:31 | So you can see it's right here now.
| | 03:33 | You can also click the Star icon to
save this as a favorite, which places the
| | 03:37 | preset in the Favorites menu.
You could see it's here now.
| | 03:42 | In this way, I'll now be able to
instantly apply this effect without having to
| | 03:45 | even open the Effects window in the future.
| | 03:48 | Now, up to this point, I've just been previewing
what this effect will do to my audio.
| | 03:51 | If I'm happy with how things sound,
I need to click the Apply button to
| | 03:54 | apply the effect.
| | 03:56 | Now, if I currently have a selection
like this, the effect will only be applied
| | 03:59 | to the portion of the audio that's selected.
| | 04:00 | So if I want to apply these settings to
the entire file, I just need to click in
| | 04:04 | the waveform to deselect.
| | 04:06 | And now when I click Apply,
my entire file is affected.
| | 04:09 | Notice this particular effect made the
waveform smaller, so it actually reduced
| | 04:13 | the amplitude of my overall file.
| | 04:16 | And now, when I play I should be
able to hear the effect of the effect.
| | 04:20 | (male speaker: Hi, I'm Rob Garrett,
and I'd like to welcome you to Cinema 4D--)
| | 04:23 | Now what I mean when
I talk about destructive effects is
| | 04:26 | that applying effects from the Effects menu
like I just did physically changes my file.
| | 04:31 | As we can see, the waveform is now
different and reflects the reverberation
| | 04:34 | sounds that I've added to it.
| | 04:36 | If I wanted to alter the effect I
applied, I would have Undo this and then
| | 04:40 | choose the effect again with different settings.
| | 04:43 | But if I leave the file looking like
this and I save it, that reverb is locked
| | 04:46 | in and I permanently change the file.
| | 04:49 | Now that might be okay, depending on
what you're doing with your file, but if
| | 04:51 | you want a little more flexibility--
especially if you're going to be running
| | 04:54 | your audio through multiple effects--
you want to instead use the Effects Rack.
| | 04:57 | So let me undo my changes here.
| | 04:59 | Take it back to the way it originally was.
| | 05:01 | And the Effects Rack is located
right here in the default workspace.
| | 05:05 | If you don't see it, you can open
it from the Effects menu by choosing
| | 05:07 | Show Effects Rack.
Let's make this a little bit bigger.
| | 05:12 | The difference between applying effects
from the Effects menu and applying them
| | 05:15 | from the Effects Rack is that the
Effects Rack lets you apply effects and edit
| | 05:18 | or remove them at any time while you're working.
| | 05:21 | Each one of these rows is space for adding
effects and you can add up to 16 of them.
| | 05:26 | You can of course add effects on top
of other effects using the Effects menu,
| | 05:29 | too, but those are cumulative.
| | 05:31 | Meaning, you first add one effect,
then the next effect applies to the
| | 05:34 | changes the first one made, then the
third effect applies to the changes the
| | 05:37 | first two made, and so on.
| | 05:39 | And that's how it works with the
Effects Rack, too, but the Effects Rack gives
| | 05:42 | you the ability to remove or alter
previously applied effects without altering
| | 05:46 | your file while you're working.
| | 05:48 | And the order in which you
apply effects matters too.
| | 05:50 | In Effects Rack, you can
rearrange them, so they're applied in a
| | 05:53 | different order, because effects are
applied in the order they're listed
| | 05:56 | from top to bottom.
| | 05:57 | So to add an effect, you can click
the triangle next one if this rows.
| | 06:00 | It can be any one of them, but I guess it
make sense to start with number one and
| | 06:03 | you can apply exactly the same
effects as you can from the Effects menu.
| | 06:07 | So again, I'll choose Reverb,
Convolution Reverb and this one though looks
| | 06:12 | nearly identical to the one
we were looking at earlier.
| | 06:15 | There isn't a play or loop button here,
but again, you can just use the regular
| | 06:18 | Playback buttons or the spacebar.
| | 06:20 | Notice the Preset I created is saved here.
| | 06:21 | And just like before, I can play the
file and adjust my Effects settings.
| | 06:26 | (male speaker: We're gonna explore some key changes
to my favorite 3D animation package, Cinema 4D.
| | 06:31 | This new release has brought some important updates,
and I'm really excited to share them with you.)
| | 06:33 | You can toggle the effect on and off to see
how it sounds with and without the effect.
| | 06:38 | (male speaker: We'll start off by looking at
the interface and how it's changed from version 12.
| | 06:42 | Next, we'll take a look at the
render engine enhancements--)
| | 06:45 | Notice though, that there's no
Cancel or Apply button here.
| | 06:48 | Audition is already rendering
the effect live in real time.
| | 06:51 | If I close this window, I still hear the effect.
(male speaker: -- render engine is a huge addition--)
| | 06:57 | But I haven't actually changed
my file at all at this point.
| | 07:00 | Notice the waveform still looks the same.
It hasn't changed its appearance at all.
| | 07:04 | If I change my mind about the effect I
added, or I want to edit it, all I can do
| | 07:07 | is double-click it to reopen its settings.
| | 07:10 | (male speaker: --and it allows for very realistic
camera effects like motion blur and depth of field.
| | 07:14 | The character tools have been dramatically enhanced--)
| | 07:18 | And just like that, the change is applied.
| | 07:21 | And to apply another effect, I just
move to Rack 2 and choose another effect.
| | 07:25 | Maybe I'll go to Amplitude and
Compression, and I'll just choose the
| | 07:30 | Speech Volume Leveler.
| | 07:32 | Now, I'm not going to bother making any
changes right now, but again, I can hear what
| | 07:34 | this effect does if I press the spacebar.
| | 07:36 | (male speaker: --the new character and see motion
of objects that help you create character rigs--)
| | 07:40 | Maybe I'll make a slight change here.
| | 07:42 | (male speaker: We'll also explore cool new shaders
like subsurface scattering and important workflow
| | 07:47 | enhancements like stereoscopic rendering--)
| | 07:50 | But now, I've added
another effect in the Effects Rack.
| | 07:52 | Now, I mentioned that the order the
effects appear in matters in some cases.
| | 07:56 | So you should be able to hear a difference
if I drag the effects to switch their places.
| | 08:00 | (male speaker: There are a lot of exciting elements in this
update of Cinema 4D, and I can't wait to show them to you.
| | 08:05 | So let's get started with
Cinema 4D R13 New Features.)
| | 08:08 | Let's let this loop around again.
| | 08:10 | (male speaker: Hi, I'm Rob Garrett, and I'd like
to welcome you to Cinema 4D R13 New Features.
| | 08:14 | We're gonna explore some key changes
to my favorite 3D animation package--)
| | 08:18 | So the effect in this case is
subtle, but it does make a
| | 08:20 | difference whether one comes before the other.
| | 08:21 | This is another thing that you
can't do with the Effects menu.
| | 08:25 | There you're locked in to the original
order in which you apply the effects.
| | 08:29 | Here in the Effects Rack you can drag them into
whichever order sounds best to you at any time.
| | 08:33 | You can also turn the individual effects on
and off just by using their Power buttons.
| | 08:37 | And with the Effects Rack, you
also get some additional controls.
| | 08:40 | Down here, there are Input and Output
Dials, so you can adjust the level of the
| | 08:43 | audio going into the
effect and the level coming out.
| | 08:46 | And you will find that you'll
sometimes need to bump up the output if you're
| | 08:48 | applying effects that
lower the volume of your audio.
| | 08:50 | As we saw previously, when I applied
the Convolution Reverb effect from the
| | 08:53 | Effects menu, that made the
amplitude of my waveform go down.
| | 08:57 | So I very well might want to bump up the
output a bit while listening to my file.
| | 09:00 | (male speaker: --package, Cinema 4D. This new
release has brought some important updates,
| | 09:04 | and I'm really excited to share them with you.
We'll start off by looking at the interface
| | 09:08 | and how it's changed from version 12. Next--)
| | 09:11 | There's also this Mix slider
which goes from dry to wet.
| | 09:14 | Dry basically means no effects are
applied, and wet gives you the full effect.
| | 09:18 | Again, you want to play your file, and just drag
the slider until the effect sounds right to you.
| | 09:22 | (male speaker: --we'll take a look at
the render engine enhancements.
| | 09:24 | The physical render engine is a huge addition
to R13, and it allows for very realistic camera
| | 09:29 | effects like motion blur and depth of field.)
| | 09:32 | Now, down here in the lower
right is the Process menu.
| | 09:35 | And this is where you can determine
whether your effects are going to affect the
| | 09:38 | entire file or just the selection.
| | 09:40 | If you don't have anything selected,
that basically means the entire file is
| | 09:43 | selected and the effects will be
applied to the whole thing, or you can make
| | 09:47 | a selection and then keep Selection Only
applied to just affect that portion of the file.
| | 09:51 | Now, when you have got your file
sounding the way you want, you still have to
| | 09:53 | physically apply the effect of the file.
| | 09:56 | Right now, Audition is just doing some
real-time rendering of what the file will
| | 09:59 | sound like with the effect applied.
| | 10:00 | But if I want to save my file with the effects
I've selected, I have to click Apply.
| | 10:04 | Notice if I try to choose File >
Export > file right now, I get a message
| | 10:10 | telling me that the effects in the
Effects Rack won't be applied to the exported
| | 10:13 | file and that I have to click Apply first.
| | 10:17 | So I'll click Apply and at this point,
I've now altered the actual file as you
| | 10:21 | can tell by the change in
the waveform's appearance.
| | 10:23 | If I save a file now, it
will stay like this permanently.
| | 10:26 | Notice the Effects Rack is now empty.
| | 10:29 | So what's the point of using the
Effects Rack if it's going to be destructive
| | 10:32 | just like the Effects menu?
| | 10:34 | It's really about the freedom the
Effects Rack gives you to experiment and
| | 10:36 | move effects around to have the
ability to really tweak things just right
| | 10:40 | before you apply them.
| | 10:42 | Ultimately, if you're not sure you want
to permanently alter a file, just make a
| | 10:45 | copy of it and open that copy in Audition.
| | 10:47 | Alternately, remember you have the Edit
menu where you can choose Copy to New,
| | 10:52 | which copies your file on the fly as a
new untitled document you can work on
| | 10:55 | without worrying about messing up your original.
| | 10:57 | You can see now I'm working on Untitled 5,
and the original is still sitting here as well.
| | 11:04 | I'm just going to close this one.
Don't need to save it.
| | 11:06 | And as always, as long as you haven't
closed your file after you apply Effects,
| | 11:09 | you can undo any effects you have
applied by pressing Command+Z or Ctrl+Z or
| | 11:13 | using your History panel to
jump back to a certain point.
| | 11:17 | So if I wanted to go back to the
original file, I could just go back to Open.
| | 11:20 | (male speaker: --New Features. We're gonna
explore some key changes to my favorite--)
| | 11:25 | Now, I do want to mention that you
will come across some effects
| | 11:27 | that are particularly CPU-intensive.
| | 11:29 | For example, I'll add the
effect Reverb > Full Reverb.
| | 11:33 | That gives me this warning message
saying that the selected effect might not be
| | 11:36 | suitable for real-time playback,
basically, because it might be too
| | 11:39 | CPU-intensive for your
computer to render on the fly.
| | 11:42 | Notice that it also displays the effect
in red, so you're aware of this visually.
| | 11:45 | I'll click OK.
| | 11:48 | But if you have a relatively recently
manufactured computer, you might not have
| | 11:50 | any issues at all with certain effects.
| | 11:52 | I think I can play this one just fine and
let Audition do its rendering on the fly.
| | 11:56 | (male speaker: favorite 3D animation package,
Cinema 4D. This new release--)
| | 12:01 | To take a while to calculate there,
but now it seems to be playing fine.
| | 12:08 | Now, if you are experiencing
playback issues with certain
| | 12:10 | effects, you'll have to click the
Apply button to actually apply them to the
| | 12:13 | file so you can hear them properly.
| | 12:14 | Of course, if you don't like the effect
at that point, you'll have to Undo and
| | 12:18 | then remove or adjust the effect,
then apply it again to hear the results.
| | 12:22 | But as I said, any new computer should
be okay rendering at least a couple of
| | 12:24 | CPU-intensive effects on the fly
without having to actually apply them.
| | 12:28 | Okay, so that's an overview of
how to apply effects in Audition.
| | 12:31 | In the rest of this chapter, we'll take a look
at specific types of commonly used effects.
| | Collapse this transcript |
| Applying compression| 00:00 | So now I'll start taking a look at some of the
specific effects that come built into Audition.
| | 00:04 | Probably what makes Audition so
attractive as an audio editing application is
| | 00:07 | the sheer number of effects that it comes with.
| | 00:09 | Let's begin by talking about Compression.
I'm working with the file singrealloud.wav.
| | 00:14 | Let's go ahead and play this once.
| | 00:15 | (music playing)
| | 00:26 | So as you can hear and also see
by looking at the waveform,
| | 00:29 | there is a significant dynamic range
between the four phrases of the performance
| | 00:33 | captured in this recording.
| | 00:34 | This is due to the way the singer performed
the song, and there's no fault in that.
| | 00:38 | You don't want to ask a singer to be less
expressive, you want to capture a good performance.
| | 00:42 | The problem is that the quieter parts
of the recording may get lost in the mix
| | 00:45 | once you start adding in other instruments.
| | 00:47 | Or even if this was meant to be an
A capella performance with no other
| | 00:50 | accompaniment or instruments, you'd
still want to do something to slightly
| | 00:53 | decrease the dynamic range within the
recording so the listener doesn't have to
| | 00:57 | turn up the overall volume just to
hear the quieter parts or turn down the
| | 01:00 | volume so the louder parts aren't overbearing.
| | 01:03 | Compression helps you get a consistent
volume level throughout your file.
| | 01:06 | Compression attenuates or reduces the
loudness of the loudest portions of your
| | 01:10 | recording, so there's not as much of a difference
between them and the quietest portions.
| | 01:14 | This allows you then to increase the
overall volume or gain, so the entire file
| | 01:18 | can be as loud or even louder than
the loudest parts originally were.
| | 01:20 | Now I don't have the ability to give
you a really detailed explanation of all
| | 01:24 | the aspects of compression techniques
here, but I do want to show you some basic
| | 01:28 | techniques so you can see
what Audition is capable of.
| | 01:30 | If you'd like to learn a lot more
about Compression, be sure to check out the
| | 01:33 | course called Foundations of Audio
Compression and Dynamic Processing on the
| | 01:37 | lynda.com Online Training library.
| | 01:39 | Right, so let's take a look
at some Compression effects.
| | 01:42 | Now as we saw previously you can
apply effects either from the Effects menu
| | 01:45 | or the Effects rack.
| | 01:46 | And we recall that the Effects rack
gives you much freedom and flexibility to
| | 01:50 | make changes so you should use
it instead of the Effects menu.
| | 01:53 | But for the purposes of this
demonstration, I'm going to use the Effects menu
| | 01:57 | because you'll be able to instantly
see the changes I make reflected in the
| | 01:59 | appearance of a waveform,
| | 02:01 | whereas with the Effects rack, I'd have to
click Apply each time I make a change.
| | 02:04 | But when you are applying effects for your
own work, you'll want to use the Effects rack.
| | 02:08 | So I'm going to go to the Effects menu
and choose Amplitude and Compression.
| | 02:13 | And here I want to look at the
Single-Band Compressor start.
| | 02:16 | Now pretty much all of these effects
here are Compressor effects as well, but I
| | 02:20 | want to focus on the Single-Band Compressor.
| | 02:23 | A Single-Band Compressor means that
it's going to affect all of the frequencies
| | 02:26 | equally throughout your recording.
| | 02:27 | You will see in a little bit that a
multi-band compressor lets you apply
| | 02:30 | different compression to different
frequencies but a Single-Band Compressor
| | 02:33 | affects all the frequencies equally.
| | 02:35 | And we have five sliders here.
| | 02:37 | The first one is Threshold
and it's determined by decibels.
| | 02:40 | Threshold has a decibel level at which
the compressor reacts or is triggered.
| | 02:44 | When the amplitude of your audio
rises above the Threshold, the compressor
| | 02:48 | applies the compression settings
basically what you have set up here under
| | 02:51 | the Threshold slider.
| | 02:52 | When the amplitude of your audio is below
the threshold, the compressor does nothing.
| | 02:55 | So looking at the waveform of my
recording here, I can see that the loudest
| | 02:59 | points reach a little bit over -9 dB.
| | 03:02 | I can see -9 dB on the scale here, and
if I follow that line over. This would
| | 03:06 | probably be the loudest point right here.
| | 03:08 | So a Threshold setting any higher than that
would have no effect on any part my recording.
| | 03:12 | A Threshold setting of say -15 dB or
so would affect the louder portions but
| | 03:17 | have no effect on the two softer phrases
since neither of them really go over -15 dB.
| | 03:22 | So the Threshold determines when
the compressor actually compresses.
| | 03:26 | But how much it compresses is determined by
the ratio setting, which is the next slider here.
| | 03:30 | The ratio determines how much any
signal over the Threshold is attenuated or
| | 03:34 | reduced, and it's usually expressed
as a larger number over one or a ratio.
| | 03:38 | Right now, the ratio is set to 1:1.
| | 03:42 | The higher the ratio, the
more severe the compression.
| | 03:44 | A ratio of 1:1 has basically no change,
a ratio of 2:1 reduces the original
| | 03:49 | signal by half, a 4:1 ratio reduces
the signal to a quarter of its original
| | 03:53 | amplitude, and so on.
| | 03:55 | Generally a setting of 2:1
to about 4:1 is common.
| | 03:58 | Anything higher than that is
considered extreme compression but where you set
| | 04:02 | your ratio is really going to depend on your
recording and what you're trying to achieve.
| | 04:05 | So if I want to even out the dynamics
of this recording, I want to look at the
| | 04:08 | peaks of the quieter portions of the recording.
| | 04:10 | And the quietest portion is
definitely this phrase here on the end.
| | 04:15 | And looking at the scale here it
looks like they go to about -24 dB or so.
| | 04:19 | So I'm going to set the Threshold to -24 dB.
| | 04:23 | And now we know that anything louder than
that will be affected by the compressor.
| | 04:26 | That basically means the rest of
the recording will be affected by the
| | 04:28 | Compressor while this quietest phrase will not.
| | 04:31 | For the ratio, I'm going to go a
little bit more extreme since there's such a
| | 04:34 | wild degree of difference between the
loud and quiet parts of this recording.
| | 04:37 | Let's try about 8:1.
| | 04:40 | Now the Attack setting determines how
quickly the compressor reacts when it
| | 04:43 | detects a signal that goes above your Threshold.
| | 04:45 | The release slider is for specifying
how quickly the compressor lets go of that
| | 04:48 | signal and returns it to its
uncompressed state after it detects that the audio
| | 04:52 | is no longer above the Threshold.
| | 04:54 | Notice that these two are measured in
milliseconds so the attack and release
| | 04:58 | happened very quickly in most cases.
| | 05:00 | But they can have a noticeable
effect on the sound of your recording.
| | 05:02 | Too long an attack time and the
compressor may not attenuate the louder
| | 05:05 | signals quickly enough.
| | 05:07 | Too long a release time and the
compressor effect might be applied to quieter
| | 05:10 | sounds that don't need compression.
| | 05:12 | Again, it's something
you'll have to experiment with.
| | 05:14 | I'm just going to leave
them where they are for now.
| | 05:15 | I'm also going to leave the
Gain level at zero right now.
| | 05:18 | Let's click Apply and see what the
results of these settings look like.
| | 05:22 | So now you can see the waveforms are
much closer to each other in height.
| | 05:24 | Let's give this a listen.
| | 05:29 | (video playing)
| | 05:40 | So we have a much more
even dynamic range now in this recording.
| | 05:43 | But as you can see, one of the obvious
effects of compression is it reduces the
| | 05:46 | amplitude of you recordings.
| | 05:47 | That's why you have like a Gain
slider to adjust the output level of your
| | 05:50 | recording after compression has been
applied to bring the level back up closer
| | 05:54 | to where the loudest
points were before compression.
| | 05:57 | So first, let's note that the loudest
portions of this recording are now at
| | 06:00 | about let's say -18 dB.
| | 06:04 | So before compression the
loudest parts were around -9 dB or so.
| | 06:07 | So we had about a 9 dB reduction in amplitude.
| | 06:09 | I'm going to undo the Single-Band
Compressor effect, and I'm going to open up
| | 06:14 | the Effect again.
| | 06:17 | So my previous settings are still in
here, but this time I'm going to increase
| | 06:20 | the up again by about 9 dB, and that's
going to bring the level back up to where
| | 06:25 | the loudest portions of my recording
where before compression was applied.
| | 06:27 | I'll click Apply.
| | 06:30 | So now I have applied the
compression but also increased the amplitude of
| | 06:33 | the entire file.
| | 06:34 | Now with the settings I've applied
and at the scale you can still see a
| | 06:37 | difference between the louder and
quieter phrases in this recording but the
| | 06:40 | difference between them isn't nearly as severe.
| | 06:42 | And generally, you don't want to apply
so much compression that everything in a
| | 06:45 | vocal performance is exactly the same
level, doing so robs your recording of
| | 06:48 | all dynamic range.
| | 06:50 | And let's just play this once.
| | 06:52 | (video playing)
| | 07:03 | Now you also shouldn't get
too caught up in the numbers.
| | 07:05 | Applying compression has a lot to do
with just using your ears and looking at
| | 07:08 | the waveform and settings as a guide.
| | 07:09 | It's really about training your ears.
| | 07:12 | For most basic compression tasks,
you can generally start by lowering the
| | 07:15 | Threshold to a level that is
about 4 to 6 dBs of Gain reduction.
| | 07:19 | Then use the Gain slider to raise the
output to about the same level as the
| | 07:22 | highest peaks before compression.
| | 07:24 | But again, that's just the starting
point and you can experiment from there.
| | 07:27 | Let me undo that again and
open the compressor one more time.
| | 07:33 | You might have noticed that this
compressor like many of the other effects has
| | 07:36 | some presets you can choose from.
| | 07:38 | One good way to learn how compression
affects your audio is to select your
| | 07:40 | preset and see how it changes the sliders,
then click Apply and check out your waveform.
| | 07:47 | If it's too much or too little after
you listen to it, you can always undo it
| | 07:53 | and then pick another preset.
| | 07:57 | And remember, you can always play your audio
while you're working on the settings.
| | 08:02 | (video playing)
| | 08:13 | I'm just going
to close out of that for now.
| | 08:15 | And of course, it's also much easier to
experiment if you're using the Effects rack.
| | 08:20 | Remember you can come in here and
choose your effect and try different
| | 08:26 | settings, and if you don't like the
settings you can always just come back in
| | 08:28 | here and change them again.
| | 08:31 | I'm just going to right-click
on this and remove the effect.
| | 08:35 | So that's the basics of Compression.
| | 08:37 | Now as you start to get more comfortable
with Compression, you can start working
| | 08:39 | with the multi-band compressor.
| | 08:43 | It's divided into different bands of
frequencies and you get an individual
| | 08:46 | compressor for each frequency band,
from low to mid to high and then anything
| | 08:50 | above high which by default is
anything above the 10k range.
| | 08:54 | The available settings under each band
or the same we were just looking at in a
| | 08:57 | Single-Band Compressor, we have
threshold, gain, ratio, attack, and release, but
| | 09:01 | here they apply to the specific frequencies.
| | 09:03 | I'm not going to get into all the
details of the Multi-band Compressor here, but
| | 09:07 | if you understand the basics of what
we've just gone over, you'll get the idea.
| | 09:10 | But again, Compression is a huge
topic and an important one to understand.
| | 09:14 | So be sure to check out the title I
mentioned earlier called Foundations of
| | 09:16 | Audio Compression and Dynamic
Processing to get the full story.
| | Collapse this transcript |
| Understanding reverb vs. delay| 00:00 | Now let's talk about Reverb and Delay effects.
| | 00:02 | Both have a number of purposes in
audio engineering, and they're kind of but
| | 00:05 | not completely similar.
| | 00:07 | Reverb and Delay can be used to fill out the
sound of a singer's voice a little bit more.
| | 00:11 | They can be used to give the impression
that a speaker is talking in a specific
| | 00:14 | acoustic environment like a large
auditorium, even if it wasn't recorded in one.
| | 00:18 | And they can generally just make
your audio sound a little bit bigger.
| | 00:21 | But what's the difference?
| | 00:22 | You will find that people sometimes
confuse Reverb and Delay with each other.
| | 00:26 | Basically Reverb--short for
Reverberation--is an effect that mimics the sound
| | 00:30 | of your audio bouncing off the walls
and other surfaces in the room and then
| | 00:33 | coming back to your ears.
| | 00:35 | Delay--also called Echo--is an effect
that takes your audio and plays it back or
| | 00:39 | echoes it several times in succession.
| | 00:41 | But it's generally the same sound
played back over and over again.
| | 00:44 | It's the sound of the initial echo.
| | 00:46 | Reverb is different and that it
assumes more of a natural room sound.
| | 00:50 | Most of the times you're not going to
be recording your subject in the dead
| | 00:52 | center of a room so there are going
to be walls and ceilings at different
| | 00:56 | distances from the source of the sound.
| | 00:58 | Therefore, the echoes reverberating
off the closer surfaces will get back to
| | 01:01 | you sooner than the echoes reverberating
off the walls and ceiling that might be further away.
| | 01:05 | Reverb takes all of these echoes
into account to create the effect.
| | 01:08 | Delay is usually more focused
on that first or initial echo.
| | 01:11 | I've opened up this file called Snare
Drum, and this is just four snare hits.
| | 01:16 | And I'm using this as an example
because these are very short percussive
| | 01:19 | sounds, which will make it easier for you to
see the difference between Reverb and Delay.
| | 01:22 | Let's listen once.
(video playing)
| | 01:28 | Okay, so that's a pretty dry drum sound.
Let's start with Delay.
| | 01:32 | I'm going to go to Effects, Delay and Echo.
| | 01:35 | Now we have three effects to choose from here.
We've got Analog Delay, Delay, and Echo.
| | 01:40 | Now, just understand that Delay and Echo
are used interchangeably by most audio people.
| | 01:44 | I'm going to go with Analog Delay since
it has the simplest settings, and here
| | 01:48 | I'm going to make sure I have
the default preset selected.
| | 01:50 | It's powered on.
Let's go ahead and play this.
| | 01:53 | (video playing)
| | 01:58 | So we're clearly hearing the snare drum
sound echoed back to us at least twice
| | 02:01 | after each hit with each subsequent
echo being a little quieter or fading out.
| | 02:05 | Let's click Apply and see what this looks like.
So you can hear what it's done to the waveform.
| | 02:11 | Now for each drum hit you
can see these two echoes.
| | 02:18 | So that's a very basic and simple Delay effect.
| | 02:21 | Let's undo that.
| | 02:24 | Now there are several other and more
involved Delay effects you can apply.
| | 02:27 | I'll just keep this
playing and try out a couple.
| | 02:29 | (video playing)
| | 02:50 | So I'm actually getting a different
rhythm applied at this
| | 02:52 | point, so each of these settings is
created using a different combination
| | 02:57 | of these sliders.
So that's Delay.
| | 03:00 | I'm just going to close
this without applying anything.
| | 03:02 | Now let's look at Reverb.
| | 03:04 | Go to Effects > Reverb, and we'll
choose Convolution Reverb, and we've had a
| | 03:07 | look at this already.
| | 03:09 | And this is a great set of tools for
placing your recording into different
| | 03:11 | acoustic environments.
| | 03:13 | I'm going to choose classroom, and
I'm just going to make sure I have the
| | 03:15 | default setting here, and let's listen to that.
(video playing)
| | 03:23 | So already, this is making my
snare drum sound much bigger.
| | 03:26 | Instead of that single echo that's
repeated with a Delay effect, the Reverb
| | 03:30 | effect recreates the effect of your
sound echoing off multiple surfaces in
| | 03:34 | returning to your ears individually.
| | 03:35 | Generally all the Reverb effects
have a room-sized slider which is for
| | 03:39 | determining how large or small your
virtual room is, the larger the room,
| | 03:42 | the more reverberation.
| | 03:43 | And as always, you're free to drag
around the sliders to customize your sound,
| | 03:47 | or you can choose from any of the presets here.
| | 03:49 | This is the one I created earlier.
(video playing)
| | 03:57 | So watch the waveform when I click Apply here.
| | 04:00 | So rather than the repeated echoes we
saw with the Delay effects, I could see
| | 04:04 | that waveforms have much less of an
initial attack and stretch out much longer.
| | 04:08 | So even though my snare drum might
have been recorded in a recording studio,
| | 04:11 | I've now made it sound like it
was recorded in a cavern or a large
| | 04:14 | reflective room of some sort.
| | 04:15 | Whether this is a good or bad thing
depends on what you're trying to achieve.
| | 04:18 | You will find that adding a little
Reverb to a singer can fill out the voice
| | 04:21 | and hide weaknesses sometimes, but
neither Reverb nor Delay are a magic
| | 04:25 | solution to fixing a bad vocal.
| | 04:27 | So that's the difference
between Reverb and Delay.
| | 04:29 | These are effects you will learn a lot
about just by experimenting on your own.
| | 04:32 | But if you want to learn more about
Reverb and Delay and get the necessary
| | 04:35 | background so you'll understand what
the available settings do in each one of
| | 04:37 | the effects that are available, be
sure to check out the course called
| | 04:40 | Audio Mixing Boot Camp on the
lynda.com Online Training Library.
| | Collapse this transcript |
| Working with filters and EQ effects| 00:00 | Audition comes with an excellent
collection of built-in graphic equalizers and
| | 00:04 | equalizer-based effects to let you
filter your audio to emphasize or
| | 00:07 | de-emphasize various
frequencies across your recordings.
| | 00:11 | EQs allow you to get fine grain control
over a very specific range of frequencies.
| | 00:15 | You can boost to low levels to get
more bass or cut the high and back if your
| | 00:18 | recording sounds too trebly.
| | 00:20 | EQ effects are often also referred to
as Filters because they filter specific
| | 00:24 | frequencies relative to the rest of the signal.
| | 00:26 | Let's take a look at some examples.
| | 00:28 | I've opened up the file Sing Real Loud,
which we have seen already in this chapter.
| | 00:31 | Let's give it a listen again.
| | 00:34 | (video playing)
| | 00:42 | Now, earlier we talked about
how to use compression to
| | 00:45 | compensate for the wide
dynamic range in this recording.
| | 00:48 | But another issue here is one of sibilance.
| | 00:50 | Sibilance is the overly harsh sound
that sometimes is created when someone
| | 00:54 | speaks or says words with the letter S
and to a lesser extent the S-H and C-H sounds.
| | 00:59 | You can hear a lot of S sounds in
this recording every time the singer says
| | 01:02 | sometimes, sings, soft, and so on.
| | 01:04 | Listen again.
| | 01:07 | (video playing)
| | 01:16 | Now of course, S sounds are
required in order to properly
| | 01:19 | speak and sing words, but you can
reduce their harshness by filtering some of
| | 01:23 | the frequencies that cause sibilance.
| | 01:25 | This is called the De-essing, and
you'll actually find an automatic de-esser
| | 01:28 | under the Favorites menu, right here,
but I would like to show you how to do
| | 01:32 | this more manually because while the
automatic de-esser does an okay job, it
| | 01:35 | targets a general frequency range
where most people tend to say their esses,
| | 01:38 | but being able to manually target individual
speakers can often get you better results.
| | 01:43 | So I'll go to the Effects menu > Filter
and EQ, and here you'll find a couple of
| | 01:47 | different types of EQs.
| | 01:48 | You're probably most familiar
with the graphic EQ like this.
| | 01:52 | Here in Audition you have a 10-band
EQ and a 20-band EQ and a 30-band EQ.
| | 02:00 | Obviously, the 30-band EQ gives
you the most control over specific
| | 02:03 | frequencies but it might not always
be necessary to adjust your frequencies
| | 02:06 | with that much control.
| | 02:08 | For some projects you might find that
switching to the 10 or the 20-band EQ works better,
| | 02:13 | and the main fact that you EQ your file
more quickly, but each works the same way.
| | 02:18 | You'll just drag the sliders up and down.
| | 02:20 | Each slider is like a volume
control for just that frequency.
| | 02:22 | So, for example, if I were trying to
get more punch out of a snare drum--in
| | 02:26 | fact, I've got snare drum still open back here,
and let me just play this for a second.
| | 02:30 | (video playing)
| | 02:34 | So that snare drum sounds okay,
but it doesn't have a lot of punch.
| | 02:38 | Simply increasing its volume isn't
going to increase the snap of the snare
| | 02:41 | drum just its amplitude.
| | 02:43 | So I'll open up that graphic EQ.
I'll go with 20-band again.
| | 02:47 | So to get more punch out of the drum, I
probably need to increase the level of
| | 02:50 | the frequencies in about the 3 to 5k range.
| | 02:53 | Let me go ahead and play this, and I will
exaggerate it a bit so you can hear the difference.
| | 02:57 | (video playing)
| | 03:05 | So there's the extreme there.
| | 03:08 | If I drag those down, you'll see how it
robs the snare of pretty much any punch.
| | 03:15 | Let's try something like this.
| | 03:17 | (video playing)
| | 03:29 | And now that has a little bit more punch.
| | 03:31 | So that's an example of how to use a
graph EQ to filter specific frequencies to
| | 03:34 | emphasize them more.
| | 03:36 | Okay, let's switch back
to the Sing Real Loud file.
| | 03:39 | So in this case I have those sibilant
S sounds that I want to de-emphasize.
| | 03:44 | I'm just going to highlight this
first phrase so we can work on that one.
| | 03:48 | (video playing)
| | 03:52 | And I have the 20-band graphic EQ open.
| | 03:55 | Now again, sibilance is different for
every person, but you can pretty safely
| | 03:59 | start by pulling down the
frequencies around the 5 to 8k range.
| | 04:02 | Notice if I boost this frequencies and
if you're wearing headphones or have your
| | 04:06 | speakers turned up loud right now,
you might want to turn them down.
| | 04:08 | You will hear that the
S sounds get much harsher.
| | 04:12 | (video playing)
| | 04:20 | Let's pause that for a moment,
and I'm just going to return this
| | 04:23 | to the default flat setting.
| | 04:25 | So I'm going to drag those both
down a little bit while previewing.
| | 04:29 | (video playing)
| | 04:39 | I can toggle the Preview on
and off to hear the difference.
| | 04:42 | (video playing)
| | 04:51 | So the esses to me
aren't quite as sibilant anymore.
| | 04:53 | I want to go ahead and close
that without applying the effect.
| | 04:57 | Now another built-in tool you can
use is the FFT filter, again found
| | 05:00 | under Filter and EQ > FFT.
| | 05:03 | FFT stands for Fast Fourier Transform--
not that you need to know that--but it's
| | 05:07 | the algorithm this filter
uses to adjust frequencies.
| | 05:10 | Unlike a graphic EQ, this filter lets
you drag this blue line kind of like a
| | 05:14 | rubber band to increase and decrease
frequencies relative to each other.
| | 05:19 | So dragging down the frequency also slightly
drags down those around it and vice-versa.
| | 05:23 | And that might give your audio a more
natural sound than the graphic EQ and you
| | 05:27 | can click to add additional points to the line.
| | 05:30 | But also notice that the FFT filter
like many of the other filters comes with
| | 05:33 | some presets designed to handle
various issues or to apply an effect.
| | 05:36 | For example, the telephone receiver
drops off the low and high frequencies
| | 05:41 | giving you a result that sounds like
it's coming from a telephone receiver.
| | 05:43 | (video playing)
| | 05:49 | And you will also find a de-esser here.
| | 05:51 | Now this place is small dip that
reduces the frequencies where most
| | 05:54 | sibilant problems occur.
| | 05:56 | (video playing)
| | 06:01 | Now if you're not happy
with the results, you're still free to
| | 06:03 | use this just as a starting point and
drag any of these other handles around, or
| | 06:06 | you can create more points on your own.
| | 06:07 | Maybe I want to drag the bottom of this curve
down a little bit more for more reduction.
| | 06:14 | (video playing)
| | 06:20 | Can you hear the difference there?
(video playing)
| | 06:25 | And I think that cuts down some
of the harshness of the S sounds there.
| | 06:27 | I'll go ahead and apply that.
| | 06:29 | So you have got a full range of EQ
tools available at your disposal here in
| | 06:32 | Audition. And of course, lynda.com has
you covered if you want some in-depth
| | 06:36 | instruction on the ins and outs of EQs
in filters with our course called
| | 06:39 | The Foundations of Audio EQ and Filters.
| | 06:41 | So be sure to check out that course for a lot
more information on how to use EQs and filters.
| | Collapse this transcript |
| Using special effects| 00:00 | Among Audition's built-in effects,
you'll find a category called Special, and
| | 00:04 | these are special effects that can
be used for any number of results, and
| | 00:07 | you'll find that you can use them
subtly or heavy-handed depending on what
| | 00:10 | you're going for.
| | 00:12 | I just want to show you a
couple of examples here.
| | 00:13 | I've opened up this file called
Dynamic Guitar Chords, and it's just a
| | 00:17 | simple looping pattern.
| | 00:19 | (music playing)
| | 00:28 | So this is an acoustic guitar,
but maybe for my project, I need
| | 00:31 | it to be an electric guitar.
| | 00:33 | Now ideally you would be able to go
back and re-record the guitars playing
| | 00:36 | an electric guitar.
| | 00:37 | But if that's not a viable solution,
you can use some of the Audition's effects
| | 00:40 | to try and turn it into an electric guitar.
| | 00:43 | In fact, if I go to Effects > Special, you'll
see that there's actually a Guitar Suite here.
| | 00:48 | Here I can select settings for Compression,
Distortion, there's a filter and even an amp modeler.
| | 00:55 | And there are some presets I
can choose from to get started.
| | 00:58 | Now the default setting is going to
sound a little harsh, so adjust your
| | 01:01 | headphones and speakers accordingly.
| | 01:02 | But I'll go ahead and play this now.
| | 01:05 | (music playing)
| | 01:16 | So that changed the sound pretty drastically.
| | 01:19 | Depending on the preset you choose,
you'll see that some of the modules
| | 01:22 | are turned on or off.
| | 01:24 | In this case, the Big And Dumb preset
has turned everything on, but the Filter
| | 01:27 | module which you can see,
is still being bypassed.
| | 01:30 | But you're free to use any of these
presets as a starting point and then make
| | 01:33 | your own adjustments from there.
| | 01:34 | For example, this had a little bit too
much distortion for my taste so I drag
| | 01:38 | the Amount slider down under Distortion.
| | 01:39 | There's also a bunch of built-in amps.
| | 01:43 | Maybe I'll switch this to Classic
British Stack, and I'll play that.
| | 01:48 | (music playing)
| | 01:50 | This Mix slider lets me determine how much
of these effects are applied to the file.
| | 01:54 | (music playing)
| | 01:57 | You can see I drag it down to 0.
| | 02:00 | (music playing)
| | 02:05 | I kind of like how it sits there.
| | 02:08 | And once I'm satisfied with the sound,
I can apply it, or I can even save my
| | 02:12 | setting as a preset just like
with the other effects we've seen.
| | 02:14 | I'm just going to cancel
for now by clicking Close.
| | 02:18 | And I also find an effect
under Special called Distortion.
| | 02:22 | Let me open a file with somebody talking here.
| | 02:24 | I'm going to open up maya_intro_raw,
and you remember it's just the intro to
| | 02:27 | one of our Maya courses.
| | 02:29 | (male speaker: Hi, I'm George Maestri,
and welcome to character rigging in Maya.)
| | 02:33 | All right! So I'm going to go to Effects >
Special > Distortion, and here we have a
| | 02:38 | Positive and Negative graph.
| | 02:40 | Basically, the way this works is that
anything you draw in the Positive graph by
| | 02:43 | drawing nodes and dragging them around
affects the top half of the waveform,
| | 02:47 | basically anything above the center line.
| | 02:50 | Anything you draw in the Negative graph
affects everything below the center line.
| | 02:53 | And you might use an effect like this
to simulate a blown-out speaker or a
| | 02:57 | recording that was recorded way too loudly.
| | 03:00 | (male speaker: In this course, we're gonna look at
Maya's character rigging tools as well as how to
| | 03:05 | use those tools to create your own rig.
We're gonna start off with a basic
| | 03:10 | introduction of rigging theory, and then we're--)
| | 03:13 | I think it kind of sounds like
a radio station that hasn't been
| | 03:15 | quite properly tuned in.
| | 03:17 | And of course, you have some
presets you can choose from.
| | 03:19 | I'm not going to select any of them
here because most of them really increase
| | 03:22 | the gain of the audio, and I don't
even have to mess with the volume of your
| | 03:25 | speakers or headphones anymore right now.
| | 03:27 | But feel free to check them out yourself.
Let's look at one more.
| | 03:32 | I'm going to go to Effects > Special > Vocal
Enhancer, and this is a very simple filter.
| | 03:38 | All it does is attempts to bring
out the vocals more in your recording.
| | 03:42 | You only have three choices here.
| | 03:43 | You can select whether the voice is Male,
Female, or you can specify that it's a
| | 03:47 | Music and you want to try to enhance the
vocals a bit more in a music recording.
| | 03:51 | This can be a quick way to make a vocal
pop a little bit more without having to
| | 03:54 | get into the graphic equalizer.
| | 03:56 | Just open this effect,
choose one of the options.
| | 03:58 | It doesn't really matter whether you
use these radio buttons or if you use the
| | 04:01 | presets up here, they all do the same thing.
| | 04:03 | And then see if it makes a
difference to your recording.
| | 04:06 | (male speaker: --dive into Maya's skeleton tools.
| | 04:09 | We'll understand how to use the joint tool
as well as how to create a skeleton for--)
| | 04:14 | I think it actually does help his voice here.
| | 04:16 | But if you don't hear much of a
difference, you can always just close out of
| | 04:18 | this, and you'll probably have to try
some of the other tools like a graphic EQ.
| | 04:22 | Okay, so that's a look at a couple
of the special effects in Audition.
| | Collapse this transcript |
| Isolating vocals in a stereo track| 00:00 | Occasionally, you may have a song
from which you want to either eliminate
| | 00:03 | or extract the vocal.
| | 00:05 | Maybe you're making a karaoke version of
the song, maybe you want to sample part
| | 00:08 | of the vocal to place in
another track you're working out.
| | 00:11 | Now if you have the original multitrack
file of the recording, it's a
| | 00:14 | simple matter to either mute the vocal track or to
mute all the other tracks to get what you need.
| | 00:18 | Well, what if you don't have
the final mixed-down version?
| | 00:20 | Maybe it's a song you extracted
from a CD or downloaded online.
| | 00:23 | Audition has a great tool for
isolating vocals that you can use in those
| | 00:26 | instances when you don't have
access to the original recordings.
| | 00:29 | I have the file Breakdown Mode.mp3 open right now.
Let's listen to a few seconds.
| | 00:35 | (music playing)
| | 01:00 | So we just heard the lead vocal as well
as some background vocals in there.
| | 01:04 | Now how on earth will we go about
pulling that vocal out of there?
| | 01:07 | I only have one file here that
has all the music mixed together.
| | 01:09 | I'm going to select a portion of the
song that has both the vocal and the
| | 01:13 | background vocals, which I think is
right about from 30 seconds in to maybe
| | 01:17 | about 55 seconds in or so.
| | 01:21 | (music playing)
| | 01:45 | Okay, so with that selected, I'm going to go to Effects >
Stereo Imagery, and choose Center Channel Extractor.
| | 01:54 | So this effect works by honing in
on the frequencies that are equally
| | 01:57 | balanced in both the left and right
stereo channels, what's known as the
| | 02:01 | center of the mix.
| | 02:02 | Usually, the lead vocal as well as bass and
other lead instruments are mixed to the center.
| | 02:06 | Audition is able to identify these elements
and then either boost or eliminate them.
| | 02:11 | Under the Extraction tab, you can
choose to extract the audio in the Center,
| | 02:14 | Left, Right, or Surround channels.
| | 02:17 | If you want a lot more control, you can
select Custom and select the sounds you
| | 02:20 | want to get rid of by its
Phase Angle, Pan, and Delay.
| | 02:23 | I'm going to stick with
the Center channel for now.
| | 02:26 | The Frequency Range slider sets the
range of the frequencies you want to remove,
| | 02:29 | in this case the Center channel.
| | 02:30 | For this example, I would
probably choose Female Voice.
| | 02:34 | But really, the easiest thing to do in here
is to choose one of the presets to start with.
| | 02:39 | And we even have a Karaoke setting here which
as you can see reduces the vocals by 20 dB.
| | 02:43 | So I'll place it again so you can take
a listen and note how it's actually able
| | 02:47 | to keep the background vocals in while
reducing the lead vocal, and I'll toggle
| | 02:50 | this on and off a few times few
times so you can hear what it's doing.
| | 02:53 | (music playing)
| | 03:17 | So that's pretty cool, right?
| | 03:19 | You can use the Center and Side Channel
sliders over here to make further adjustments.
| | 03:22 | So, for example, I can still here a
bit of a lead vocal when the effect is
| | 03:26 | running, so if I want to drop it down even more,
I could just drop the Center Channel down.
| | 03:29 | If I want less background vocals,
I can drop the Side Channel levels.
| | 03:35 | (music playing)
| | 03:50 | So you do have to be
careful about dropping either one too much,
| | 03:53 | otherwise, you start
losing the rest of the music.
| | 03:55 | (music playing)
| | 03:59 | So the presets here are
a good place to start from.
| | 04:01 | If I wanted to do the opposite of
Karaoke, I could choose A cappella, and that
| | 04:05 | isolates the lead vocal.
| | 04:08 | (music playing)
| | 04:16 | It's not perfect, but it
does get rid of a great majority of the
| | 04:19 | music, which might be enough
depending on what you need to isolate it for.
| | 04:22 | Okay, so that's the Center Channel Extractor
for isolating vocals in a stereo mix.
| | Collapse this transcript |
| Working with time and pitch effects| 00:00 | New to Audition CS6 is an effect
called Automatic Pitch Correction, known in
| | 00:04 | some circles as Autotune, which
can help finesse a slightly off-key
| | 00:08 | recording back into tune.
| | 00:10 | Now you hear a lot about Autotune
these days usually from people complaining
| | 00:12 | about how much it's overused in pop
music to the point where the singing doesn't
| | 00:16 | sound natural anymore.
| | 00:17 | My personal take is that it's best when
used subtly, which requires getting as
| | 00:20 | on-key a recording of a singer as
possible which you can then just slightly
| | 00:24 | tweak to bring it a little bit more into tune.
| | 00:25 | I've got this Say Yes LV Only
file open right now.
| | 00:29 | This is an isolated vocal track.
Let's give it a listen.
| | 00:34 | (music playing)
| | 01:02 | So that's really pretty good.
| | 01:04 | Nothing that can really be classified
as being really out of tune or off-key.
| | 01:08 | But there are a handful of notes that we
could certainly nudge around a little bit.
| | 01:10 | For example, in this phrase
here, listen to the word arms.
| | 01:16 | (female singing: So keeping me on your
mind and in your arms tonight.)
| | 01:21 | And to me that word just sounds
maybe just a little tiny bit sharp.
| | 01:25 | Certainly not completely off-key, but
it could be nudged down a little bit.
| | 01:28 | (female singing: So keeping me on your
mind and in your arms tonight.)
| | 01:33 | So with that phrase selected,
I'm going to go to Effects >
| | 01:36 | Time and Pitch and choose Automatic Pitch Correction.
| | 01:40 | Now in order to properly use this Effect, you
ideally should know the key of the song it's in.
| | 01:44 | Notice we can choose a key and
select whether it's major or minor.
| | 01:48 | This gives the tool a better idea of
which notes the singer might be trying to
| | 01:51 | hit as it'll adjust to the
nearest note in the key you select.
| | 01:54 | There's also the option of choosing a
Chromatic scale which leaves all notes
| | 01:58 | available but might produce undesirable results.
| | 02:00 | Now I happen to know this song is in
the B major, so I'm going to choose that.
| | 02:04 | Now I'm going to leave the current
settings and I'm going to toggle the Preview
| | 02:07 | on and off and you should be able to
hear a subtle difference in the tuning of
| | 02:10 | my selection, especially in the word arms.
Let's listen.
| | 02:14 | (female singing: So keeping me on your
mind and in your arms tonight.
| | 02:19 | So keeping me on your mind
and in your arms tonight.
| | 02:23 | So keeping me on your mind
and in your arms tonight.)
| | 02:28 | So to my ears that sounds
a little bit better.
| | 02:30 | Again, it's very subtle, but I think that's how
this tool should be used most of the time.
| | 02:34 | Now just to show you how important it
is to know the key of the song, if I
| | 02:36 | switch this to say C minor, notice what happens.
| | 02:42 | (female singing: So keeping me on your
mind and in your arms tonight.)
| | 02:50 | So even without the backing music,
we can tell this is really wrong.
| | 02:53 | I'm going to switch that back to B major.
| | 02:57 | Now you can tweak the effect by adjusting
the Attack and Sensitivity sliders too.
| | 03:01 | The Attack determines how
quickly the pitch will be corrected.
| | 03:04 | Generally, the faster you set it, the
less natural it's going to sound, but if
| | 03:07 | you set the Attack too slow, there might not be
enough time to correct the pitch before it's over.
| | 03:11 | So you want to start with the default and maybe
drag to the right a little bit if necessary.
| | 03:15 | The Sensitivity slider is used to specify how
off-key a note has to be before it's corrected.
| | 03:19 | If you drag this all the way to the left,
almost nothing will be corrected, and
| | 03:24 | dragging to the right will
increase the sensitivity.
| | 03:26 | Notice when I play the track and drag
the Sensitivity slider to the right you'll
| | 03:29 | see that more correction is being
applied over here in the Correction meter.
| | 03:33 | The more red you see, the
more correction it's using.
| | 03:35 | Basically, you just want to find the place that
sits best to your ears without sounding artificial.
| | 03:40 | (female singing: --your mind
and in your arms tonight.
| | 03:44 | So keeping me on your mind
and in your arms tonight.
| | 03:48 | So keeping me on your mind
and in your arms tonight.)
| | 03:52 | So keeping me on your mind
and in your arms tonight.)
| | 03:58 | I think that sounds
good right about there.
| | 04:00 | When you're happy with your result,
you can click Apply, or if you're using
| | 04:03 | this in the Effects Rack, which again you really
should, you can just close the Effect window.
| | 04:07 | Okay, so that's how you use the new Automatic
Pitch Correction effect in Audition CS6.
| | Collapse this transcript |
|
|
7. Working with the Multitrack Editor and Mixer PanelCreating a multitrack session| 00:00 | So far we have been spending most of
our time working with single tracks.
| | 00:04 | These tracks have been Stereo or
Mono, but we've only been working with
| | 00:06 | one track at a time.
| | 00:08 | So in this chapter, I want to
turn our attention to Audition's
| | 00:10 | Multitrack Capabilities.
| | 00:12 | Now you have seen it a couple times
already, so a bit of this will already be
| | 00:14 | familiar, but we'll definitely be
getting into some new territory here.
| | 00:17 | Let's start by taking a look at how
to create a new Multitrack Session.
| | 00:21 | When you have no Multitrack Sessions
open, you can create new one simply by
| | 00:25 | switching to the Multitrack view.
| | 00:27 | You can also choose File > New Multitrack
Session, or use the keyboard shortcut
| | 00:32 | of Command+N or Ctrl+N. That gives you
the new Multitrack Session window where
| | 00:36 | you can set-up your session.
First, give your session a name.
| | 00:39 | Maybe I'm recording a new audio podcast.
I'll call this Podcast Episode 1.
| | 00:45 | You, of course, would give your
session a name appropriate to whatever it
| | 00:47 | is you're working on.
| | 00:49 | Next, decide where to save
the session on your computer.
| | 00:51 | Now I want to stress that the
location you pick is where you're saving the
| | 00:54 | Session file itself.
| | 00:56 | The Session file is a relatively small
file that keeps track of all the actual
| | 00:59 | audio files you record or
import into the Multitrack Session.
| | 01:03 | Those other audio files don't have to reside
in the same folder as a Session file.
| | 01:06 | For example, if you work on a podcast
that uses the same theme music in each
| | 01:10 | episode, that might be in a photo
stored somewhere else on your computer.
| | 01:13 | When you drag it into your session, the session
notes and remembers where that file is.
| | 01:17 | So you can have your audio files
spread out all over your computer or in
| | 01:20 | multiple drives and the
Session file will keep track of them.
| | 01:23 | Of course if you wanted to you could
save your audio files alongside the Session
| | 01:26 | file, but that's not what we're deciding here.
| | 01:28 | All we're doing here is telling Audition
where we want to save the Session file.
| | 01:32 | So I'll click Browse, and just for the
purposes of this exercise, I'm going to
| | 01:37 | go to my desktop, and I'll choose that.
| | 01:39 | And again, you can see it shows up here.
| | 01:41 | Now you can also choose a
template if you so desire.
| | 01:44 | You simply just configure your session
with common presets that are typical for
| | 01:47 | the project you have selected.
Notice I select Podcast.
| | 01:50 | That locks down my sample rate to 44.1, my
bit depth to 16, and it keeps it as a stereo file.
| | 01:58 | If I choose Vocal and Guitar with Metronome,
it bumps the bit depth up to 24 bits.
| | 02:03 | And this will also create a
Metronome track in my session so I can keep a
| | 02:07 | consistent beat throughout the recording.
| | 02:09 | So each one of these templates gives
you a slightly different setting, but if
| | 02:12 | you don't want to use any
presets, you can just choose none.
| | 02:14 | That gives you the freedom to set the Sample Rate,
Bit Depth, and Master Track Output however you like.
| | 02:19 | But just an example, I'm going to
choose Podcast, which again locks in my
| | 02:23 | settings, and I'll click OK.
| | 02:25 | And now I'm looking at a new Multitrack
Session, but Audition has added a couple
| | 02:29 | of things that might be
applicable to a typical podcast.
| | 02:32 | Notice each track is labeled.
| | 02:33 | We have Hosts, Interview, Sound Effects,
Music Bed, and we have a Master Track.
| | 02:40 | There's also markers here for a
30 Second Intro, the Main Body of the podcast,
| | 02:46 | and a 30 Second Outro.
| | 02:47 | You're of course free to change
or remove any of these things.
| | 02:50 | Maybe I'm not going to have an interview
in this podcast but maybe a book review.
| | 02:53 | I can re-title this track simply by
clicking its name, and I'll just change
| | 02:57 | this to Book Review.
| | 02:59 | And naming track is a good practice to
get into right off the bat because once
| | 03:02 | you start getting a bunch of audio
files in here, it'll be much easier to keep
| | 03:05 | track of which is which if you name each track.
| | 03:08 | You're also free to move tracks to rearrange
them into an order that make sense to you.
| | 03:11 | Maybe I want this Music Bed track
to be directly below the Host track.
| | 03:15 | I'm just going to place my cursor
over the little handle area here.
| | 03:17 | Notice my cursor turns into a hand.
I'm just going to grab that and drag it up.
| | 03:22 | You can see the yellow line that
represents where this is going to be placed.
| | 03:24 | When I release, I've moved the track.
| | 03:27 | Now the only track you
can't move is the Master Track.
| | 03:30 | That always remains at
the bottom of your tracks.
| | 03:32 | Notice that it doesn't have a
handle like the rest of these.
| | 03:35 | Now we've previously seen that markers can be
edited, added, or removed from the marker's panel.
| | 03:40 | Maybe I only have a 10-second intro.
| | 03:43 | So I can just come in here and
just drag the end time to 10 seconds.
| | 03:49 | I've got to, of course,
also just type it in as well.
| | 03:51 | I might want to rename this while I'm
at it and maybe the rest of the show is
| | 03:55 | just free-form so I could actually
select these other markers and delete them.
| | 03:59 | So templates really just
give you a starting point.
| | 04:02 | Nothing here is set in stone and you're
free to move or change anything you need.
| | 04:05 | For example, maybe I am going to
record music in the session after all.
| | 04:08 | I can enable the Metronome by clicking
the Metronome button here, and if I press
| | 04:12 | play I can hear the beat.
| | 04:14 | (video playing)
| | 04:19 | Incidentally, you can change
the type of sound used for the
| | 04:22 | Metronome from the Multitrack menu,
and here you'll find Metronome, and here I
| | 04:27 | For example, I'll choose Cymbals and
now the Metronome sounds like this.
| | 04:28 | can change the Sound Type.
| | 04:31 | (video playing)
| | 04:35 | And I should also mention while
I'm talking about the Metronome
| | 04:38 | that changing the tempo of the
Metronome is a little bit weird.
| | 04:41 | You have to go to Audition Preferences--
or if you're on Windows, Edit Preferences--
| | 04:46 | and then go to Time Display.
| | 04:48 | And here you'll find the tempo setting
that you can change to the bits per minute.
| | 04:53 | So once I reset that I'll
hear the different tempo.
| | 04:56 | (video playing)
| | 04:59 | Now if you don't record music,
you don't really need to know
| | 05:02 | this, but if you do I hope this saves
you some time because it took me a while
| | 05:05 | to find that setting the
first time I looked for it.
| | 05:07 | Also, if you have the Time Display
panel showing, you can jump to the tempo
| | 05:11 | preferences from here by clicking the
menu, Time Display, Edit Tempo, and that
| | 05:16 | takes you to the same place here in Preferences.
| | 05:20 | I'm just going to hide that for now because
I'm kind of low in screen real estate anyway.
| | 05:23 | Okay, so that's how to set up a new
Multitrack Session with a little bonus
| | 05:26 | information on the Metronome feature.
| | 05:28 | Again, you're free to edit, rearrange
or remove anything that Audition sets up
| | 05:32 | for you in a Multitrack Session.
| | 05:34 | And lastly, I'm going to
Hide Audition for a moment.
| | 05:36 | So I chose to save my Session on my
desktop, and I want to point out that
| | 05:40 | Audition automatically creates a folder
for your Session and places your Session
| | 05:43 | file inside that folder.
| | 05:45 | And as you start recording into your
Multitrack Session, it will create
| | 05:48 | additional folders within this main
folder as well so everything related to the
| | 05:51 | session, apart from the existing files
that you imported into your session, will
| | 05:54 | be placed into this main
folder to keep things organized.
| | 05:57 | We'll see some of these other files
and folders it creates in the next movie.
| | Collapse this transcript |
| Recording and importing audio| 00:00 | I'm going to continue working with the
Podcast Episode 1 Multitrack Session I
| | 00:04 | created previously, and I've also
copied the folder music from my exercise
| | 00:08 | files folder on to my Desktop, so if
you're going to follow along with me, you
| | 00:11 | should do the same.
| | 00:13 | So once you have got the basic set-up
of your session, you can start recording
| | 00:16 | or importing files right away.
| | 00:18 | Now we're going to be going into
these track controls more thoroughly in an
| | 00:21 | upcoming movie, but to record to a
track you need to specify the input,
| | 00:25 | basically where the audio is coming from.
| | 00:27 | This menu with the right
pointing arrow here is the Input menu.
| | 00:30 | Now if you don't see this, make sure
you have Inputs/Outputs selected up here.
| | 00:33 | I'm going to Stereo default to go
with the hardware set-up we set up in
| | 00:38 | Preferences a couple of chapters ago.
| | 00:40 | Now depending on which template you
chose when you created your session, or if
| | 00:44 | didn't choose a template at all,
you may not have to do this.
| | 00:46 | Your tracks may already be
set up with the proper input.
| | 00:49 | I chose the Podcast Template which
didn't give me a default input, so I have to
| | 00:52 | select one before I can record.
| | 00:54 | But whichever the case, you will need to click
the R button to record enable the track.
| | 00:59 | Having to do this prevents you from
accidentally recording over other tracks.
| | 01:03 | When it's on for recording, you can see
the level meter starts moving when I speak.
| | 01:07 | Now if you're using a set-up where
you need to be able to hear what you're
| | 01:09 | recording through your speakers, or more
ideally headphones, you can click the I button.
| | 01:14 | This routes the audio you're recording
into your default output device, so you
| | 01:17 | can monitor what's being recorded to this track.
| | 01:20 | I'm going to leave that alone for now
because the way I have things wired to
| | 01:22 | record this movie you're watching would cause
a bunch of feedback if I turn the monitor on.
| | 01:26 | All right, so now to record live, I just
click the Record button down here, or I
| | 01:30 | can use the keyboard command of Shift+spacebar.
| | 01:33 | So my playhead is set at the beginning
where I want to start the recording, and
| | 01:36 | I'll record a little audio now.
| | 01:40 | "Hello and welcome to GC Book Reviews,
bringing you the best in books every week.
| | 01:44 | Today we've got to look at a new
thriller that jumped to the top of the
| | 01:47 | Bestseller list, as well as
news from the world of eBooks.
| | 01:50 | We've got a lot in store for
this half hour, let's get started."
| | 01:56 | And Shift+space again to stop recording.
| | 01:58 | Notice the playhead continues to
move though, so I do have to stop that.
| | 02:02 | So there is my first recording.
| | 02:03 | I'm going to disable the Record button here
so I don't accidentally record on to that track.
| | 02:08 | Now if I did want to continue
recording on that same track, I would re-enable
| | 02:11 | the recording, place the playhead where
I want to start, and then record my next clip.
| | 02:15 | But basically you just repeat this
process for each track you want to record on,
| | 02:18 | just by going to the track, picking an
Input, again, I could choose Stereo >
| | 02:23 | Default and then enabling that track.
| | 02:27 | Now as far as importing existing audio
goes, you can just bring in audio files
| | 02:30 | the same way as always.
| | 02:31 | So again, if I look at on my Desktop,
I've got this music folder, and in here I
| | 02:34 | have a file called SayYes_clip.mp3.
| | 02:37 | I'm going to drag that into my Files panel.
| | 02:43 | Now, if I double-click that track, I'm
going to open it in the Waveform Editor,
| | 02:47 | but that's not what I want to do here.
| | 02:49 | I'm going to double-click my session
again to go back to it, and to add that audio
| | 02:53 | track, I simply drag the file from the
Files panel into the track I want to add
| | 02:57 | it to, in this case the Music Bed Track.
| | 03:00 | The yellow bar that appears shows
you where the track will be dropped.
| | 03:02 | Now if you want the audio to start at
the very beginning of the session, just
| | 03:05 | drag it on top of the controls, and there it is.
| | 03:08 | So now I have two tracks
in my Multitrack Session.
| | 03:13 | Let's play this song and listen.
| | 03:17 | (audio playing)
| | 03:30 | Now there are a couple of issues here.
| | 03:32 | First of all, the music is louder than
my voice and it probably doesn't sound so
| | 03:36 | great for my voice to come in
at the same time as the music.
| | 03:38 | I'm just going to zoom in a little bit here.
| | 03:41 | But I can easily fix that by dragging
my voice over to the right a little bit,
| | 03:45 | so it comes in a little bit later.
| | 03:47 | Now we still have an issue where
the music cuts off kind of abruptly.
| | 03:50 | Let me play the end of this for you.
(audio playing)
| | 03:55 | That one just kind of stops there because
that's the way this clip was set up.
| | 03:59 | Now if you look inside the audio clips,
you'll see that we have the same fade
| | 04:02 | handles that we saw earlier when we
were working in the Waveform Editor.
| | 04:05 | So I can drag this right
one in to create a Fade.
| | 04:08 | Remember, you can drag it
vertically to control the speed of the fade.
| | 04:11 | I'm going to drag down to
increase the fade speed a little bit.
| | 04:17 | (audio playing)
| | 04:23 | Now if this were a really long file,
like if I had dragged in an
| | 04:26 | entire 3-minute song here,
that would be a really long fade.
| | 04:29 | Now in those cases, you can trim the
clip simply by placing your cursor over
| | 04:33 | either the left or right end of the
clips to get this little bracket cursor
| | 04:37 | and then just drag in.
| | 04:39 | Now that doesn't damage your file at
all, you're just telling Audition that
| | 04:41 | that's all of the clip you want to use.
| | 04:43 | It does affect my fade a little bit, so
I'm just going to drag that in a little
| | 04:45 | bit more, maybe move
this over a little bit more.
| | 04:48 | So I'm done talking before the music runs out.
| | 04:50 | Now I can see that there are a couple of little
clicks here on the either end of my voiceover.
| | 04:55 | I'm going to solo my track
so I hear just this track.
| | 05:00 | (audio playing)
So I heard that little click there.
| | 05:05 | (audio playing)
And at the end as well.
| | 05:10 | So, again I can just
trim these tracks to get rid of those
| | 05:13 | extraneous sounds at the beginning and end.
(audio playing)
| | 05:19 | I may even want to
zoom in a little bit more and add just a
| | 05:22 | little bit of a fade.
(audio playing)
| | 05:28 | Sounds a lot better to me and I might do the
same thing at the end, just a little bit.
| | 05:32 | (audio playing)
So that's a lot cleaner to me.
| | 05:38 | And again, I'm not damaging the audio file here,
| | 05:40 | I'm just making these changes
within the Multitrack Session.
| | 05:43 | And of course, since the music is so loud,
I should probably reduce its volume as well.
| | 05:46 | I do this with the Volume Control right here.
And I can adjust that while I'm listening.
| | 05:53 | (male speaker: Hello and welcome to GC Book Reviews,
bringing you the best in books every week.
| | 05:57 | Today we've got a look at a new thriller
that jumped to the top of the bestseller lists
| | 06:01 | as well as news from the world of ebooks.
We've got a lot in store for this half hour.
| | 06:05 | Let's get started.)
| | 06:07 | Now, one problem here is
that this volume for this clip is going
| | 06:10 | to be the same all the way through.
| | 06:12 | But that might actually make it
too quiet for the opening, where I'm
| | 06:14 | not speaking at all.
(audio playing)
| | 06:18 | Ideally, what I'd like
to have it do is have the music start at
| | 06:21 | full volume and then dip down
or duck when I start speaking.
| | 06:24 | Now I'm going to talk about how to do that
a little bit later at the end of this chapter.
| | 06:27 | But for now, that's how you get sound
into your Multitrack Session either by
| | 06:31 | recording it directly into
the session or importing it.
| | 06:34 | Now I want to again point out that
importing music stays in its original location.
| | 06:38 | This music clip file is the same one
that's still sitting out on my Desktop.
| | 06:42 | If I were to accidentally delete that
file or even just move it to another
| | 06:45 | location, my clip would go missing
here in this Multitrack Session.
| | 06:48 | I'll show you how to deal
with that in just a moment.
| | 06:50 | Let me just hide Audition for a moment.
| | 06:53 | Now, files that you record into your
Multitrack Session get placed into a
| | 06:56 | folder alongside your Session file.
| | 06:58 | So here's my Session file that I
created in the previous movie--and notice,
| | 07:02 | Audition has created this
Podcast Episode 1_Recorded folder.
| | 07:05 | If I look in there, there's Host_001.wav,
and there's the peak file it creates
| | 07:11 | for all the audio files you work with.
| | 07:13 | Now it gets the name of this file
from the name of the track, Host.
| | 07:16 | Back in Audition, you can
see this is the Host track.
| | 07:19 | It's Host_001 because this was my
first take on this track, and it created
| | 07:23 | this file right here.
| | 07:24 | A shortcut to jump to see the actual
file itself is to right-click on the file
| | 07:27 | and here I can choose Reveal in Finder.
| | 07:29 | If you're on the Windows
it's Reveal in Explorer.
| | 07:33 | And you can see that takes me right to
the folder of the file that's residing in.
| | 07:36 | Here on the Mac, I can Command-click the
Title Bar of Window to see where it is
| | 07:39 | located, and again, it's on my
Desktop inside the Podcast Episode 1 folder,
| | 07:43 | inside the Podcast Episode 1_Recorded folder.
| | 07:47 | On Windows you'll see the folder
paths right across the top of the window.
| | 07:50 | So Audition does keep the audio you
record directly into a Multitrack Session
| | 07:53 | organized with the Session file itself.
| | 07:55 | Now let's go back to this
SayYes clip that I dragged in.
| | 07:59 | Again, I'm going to Reveal this in the
Finder or Reveal in Explorer, and you can
| | 08:03 | see it's still sitting here in
the music folder on my Desktop.
| | 08:05 | Let's Quit Audition for moment
and make sure I Save my session.
| | 08:11 | So again, this song clip I'm using in
my session is sitting here in a folder
| | 08:13 | called music on my desktop.
| | 08:14 | I'm going to drag that out of this
folder and just place it on the Desktop.
| | 08:19 | Let's reopen Audition and
I'll reopen my Recent Session.
| | 08:27 | So now I'm getting this alert
that one of my files can't be found.
| | 08:30 | So I have either got to Quit Audition,
move my song back to where it belongs and
| | 08:34 | then reopen Audition, or if you really
did need to move the file--maybe you're
| | 08:38 | doing some reorganization and you know
where the file is, you can click the Link
| | 08:42 | Media button to browse to the file and
let Audition know where it's now located,
| | 08:45 | like I could actually just select it here.
| | 08:47 | I'm just going to Cancel that for now.
| | 08:48 | I'm not going to tell Audition where
that is, but I'm going to click OK anyway.
| | 08:53 | So this is what it looks like in the Multitrack
Editor when Audition can't find a clip.
| | 08:56 | Notice it says this clip is offline.
| | 08:58 | Now its position, its size and its
fade are still correct, because that
| | 09:02 | information has kept in the Session file.
| | 09:04 | But if I play this, I don't hear the music.
| | 09:07 | (audio playing)
| | 09:10 | Now I do have another opportunity
to re-link this file to its
| | 09:13 | new location by right-clicking and choosing
Link Media, and then I can find the file from here.
| | 09:19 | But in this case, I'm just going to
Quit Audition again, and I'll put my file
| | 09:23 | back where it belongs, and then I'll
reopen the session, this time I'll just
| | 09:28 | open the Session file to pop up in Audition,
and now everything is back the way it should be.
| | 09:34 | (audio playing)
| | 09:37 | So make sure you're not moving
your files around once you have
| | 09:40 | used them in a session
unless you really need to.
| | Collapse this transcript |
| Understanding the multitrack interface| 00:00 | Now let's take a deeper look at the
interface elements and controls that you'll
| | 00:03 | need to be familiar with
in a Multitrack Session.
| | 00:05 | I still have the Podcast
Episode 1 Multitrack Session open.
| | 00:09 | And in case if you haven't noticed yet,
take a look at the controls for each track.
| | 00:12 | The thing to bear in mind here is that each
track has identical controls and options.
| | 00:16 | So this isn't as complicated to
use as it might look at first.
| | 00:19 | Also if you're not seeing the same
controls in your screen here, remember, you
| | 00:22 | can use the scroll wheel on your mouse
to increase or decrease the height of the
| | 00:25 | tracks, to make sure your mouse is
over one of the tracks when you scroll.
| | 00:29 | If you don't have a scroll wheel, you
can click and drag the border between the
| | 00:32 | tracks to adjust one track's size or hold Shift
while doing so to adjust them all simultaneously.
| | 00:39 | And remember, if you have a scroll wheel,
if you want to scroll up and down in
| | 00:42 | tracks themselves, place
your cursor over the track area.
| | 00:45 | Place your mouse over the
clips area, not the tracks.
| | 00:49 | Now sometimes it's more important to see
more of your tracks all at once, so you
| | 00:52 | might want to use the most narrow of
setting, while other times you'll need to
| | 00:55 | access all the options, so you want
to adjust the sizing appropriately.
| | 00:59 | So let's go through some of these controls here.
First of all we have the M, S, R, and I buttons here.
| | 01:04 | M stands for Mute, and clicking
it completely silences the track.
| | 01:08 | It's useful when you want to listen
to all or most of all the other tracks.
| | 01:11 | In this case just mute the
ones that you don't want to hear.
| | 01:13 | For example, maybe you're hearing a weird
noise like a background hum or a click;
| | 01:17 | you could go through each of the
tracks one by one to see which one is making
| | 01:20 | the sound go away when
you click the mute button.
| | 01:22 | Notice that muting a track makes its
clips go gray, which is a good thing
| | 01:25 | because sometimes you'll forget that
you muted a track and the clips being gray
| | 01:29 | is easier to notice than this
tiny M button being clicked.
| | 01:33 | The S button stands for Solo,
and it's the opposite of mute.
| | 01:35 | Soloing a track mutes all the
other tracks that aren't also soloed.
| | 01:38 | This is a quick way to check out a single
track, although like muting, you can
| | 01:42 | also solo a multiple tracks.
| | 01:43 | But notice also that soloing a track
turns all of the other tracks gray.
| | 01:48 | As we've previously seen, R stands for Record.
| | 01:51 | In order to record to a track, you
have to click R to record enable it.
| | 01:55 | You can also enable multiple tracks
for recording, but you need hardware
| | 01:58 | that supports Multitrack recording so you
can select different inputs on each track.
| | 02:01 | We'll talk about inputs a little bit later.
| | 02:04 | And I is for the Monitor Input button,
which we'll use if you need to be able to
| | 02:07 | listen to the track you're
recording to while you're recording it.
| | 02:10 | And it's only available
when the R button is enabled.
| | 02:13 | If I disable it, notice that the I goes gray.
| | 02:15 | We've already seen how to rename
tracks simply by clicking on the name, I
| | 02:19 | won't do that right now.
| | 02:20 | Now below that we have the
Volume and Panning controls.
| | 02:24 | Volume controls the overall level of
the track, and you can drag it left and
| | 02:26 | right to make the volume quieter or louder.
| | 02:28 | That's what I did with the music bed
here, I dragged it way down, so it wasn't
| | 02:32 | louder than my vocal track.
| | 02:33 | You also have the Pan tool available
if you're working on a stereo file.
| | 02:38 | This lets you to move the sounds
towards the left or right channels.
| | 02:40 | I'm going to solo up the music and
just make it a little bit louder here, and
| | 02:45 | I'll play a few seconds--well, a few
seconds is all I have right now--but you
| | 02:48 | should be able to hear the difference
as I move the Pan from left to right.
| | 02:51 | It'll be especially noticeable
if you're wearing headphones.
| | 02:54 | (audio playing)
| | 03:05 | Now if you hold down Shift,
you'll be able to pan more quickly.
| | 03:08 | Notice I had to drag all the way to the
extreme left and right together all the
| | 03:12 | way to the extreme left and right.
| | 03:13 | But if I hold down Shift, it jumps very quickly.
There's very little movement needed for that.
| | 03:20 | Now at the Dead Center, or 0, your audio
is equally balanced within both channels.
| | 03:25 | And probably the easiest way to get that
center is just to select the text here and type 0.
| | 03:30 | Now it doesn't matter whether the
audio clip on the track you're adjusting is
| | 03:33 | itself mono or stereo either.
| | 03:35 | The Pan effects the tracks
placement in the master mix.
| | 03:37 | And because I set this up as a stereo
file, I have Pan Controls for each track.
| | 03:43 | On stereo tracks you'll also
see this Sum to Mono button.
| | 03:46 | I can say this is a stereo
track because I have two waveforms.
| | 03:49 | This vocal recording here is just a mono
track so it doesn't have that Sum to Mono button.
| | 03:54 | But what the Sum to Mono button does
is that it lets you take a stereo track
| | 03:57 | and play it back as a mono signal.
| | 03:58 | So I'll go ahead and play the music
again, and I'll toggle this a few times and
| | 04:02 | you should be able to hear the difference.
| | 04:05 | (audio playing)
| | 04:14 | So you should have been able
to hear the difference between the
| | 04:16 | mono and stereo version there.
| | 04:18 | All right, so the items that appear
under the Volume and Pan controls depend on
| | 04:22 | what you have selected up here.
| | 04:24 | Right now, I have Inputs/Outputs
selected, and that gives me the controls for
| | 04:27 | managing how sounds are
getting into and out of the tracks.
| | 04:29 | Again, I might not see them all unless
I expand the track I'm working on like this.
| | 04:33 | So I think effects, gives me a smaller
version of the Effects Rack which we
| | 04:38 | learned how to use over here.
| | 04:40 | Now when using effects on a track, you probably
want to increase the height of the tracks.
| | 04:43 | Just like in the Effects Rack, you can
add up to 16 different effects per track.
| | 04:47 | So the difference here is that the effects
you add to a track affect only that track.
| | 04:52 | When you use the Effects Rack in Multitrack
mode, it affects the entire mix,
| | 04:55 | meaning all of the tracks at once.
| | 04:56 | If you want an effect that only affects
the track, you do it over here, under Effects.
| | 04:59 | Now we also have the Sense Controls
and the EQ buttons here as well.
| | 05:04 | And we'll talk about those later.
| | 05:06 | That's a run down of the controls
you'll be working with in Multitrack.
| | 05:09 | Now depending on how you like to work,
you may find yourself spending more time
| | 05:11 | in this view, or you may
switch over to the Mixer View.
| | 05:14 | They look very different but have pretty
much the same controls, and we'll take
| | 05:17 | a look at this Mixer View in the next movie.
| | Collapse this transcript |
| Understanding the Mixer panel| 00:00 | Previously, we looked at the controls that are
common to each track in your Multitrack Session.
| | 00:04 | The point of working in this multitrack
view is that you can see your audio
| | 00:07 | clips, move them around,
adjust them, record, and so on.
| | 00:11 | But the compromise is that the track
controls have to be a little bit smaller
| | 00:14 | and can be difficult to use, especially
if you're into the mixing phase of your session.
| | 00:18 | Fortunately, we also have
the Mixer View to work with.
| | 00:21 | What you have here are controls that are
identical to the ones you have in Multitrack mode.
| | 00:26 | But here they've taken on the more
traditional appearance of an actual mixer.
| | 00:29 | Notice that each track is still on its
own track, and we can see their names at
| | 00:33 | the bottom of each module.
| | 00:34 | I've got a Host, Music Bed, where
my two audio files currently are.
| | 00:38 | The Book Review Track, Sound Effects Track, and
the Master Track appears all the way to the right.
| | 00:42 | Now if you have more tracks than the space to
display them, this area becomes scrollable horizontally.
| | 00:48 | My level is controlled with these
faders and this gives me much more fine grain
| | 00:51 | control over volume levels than the
dials here in the Multitrack view do.
| | 00:57 | You can drag the sliders up and down manually.
| | 00:59 | You can also click above and
below the fader switch to have it jump
| | 01:02 | incrementally to the next position.
| | 01:06 | And we still have the actual
decibel level being displayed down here.
| | 01:08 | And again, you can drag those horizontally.
| | 01:10 | I can set this back to 0, by clicking
it and just typing 0 and pressing Return.
| | 01:16 | Above those controls--and again,
notice that each of these controls are
| | 01:18 | identical for each track--we
have the M, S, R, and I buttons.
| | 01:22 | Again, Mute, Solo, Record,
and Monitor Input buttons.
| | 01:25 | And above that we have our Pan Controls,
which works the same way as we saw earlier.
| | 01:28 | You can drag left and right to pan.
| | 01:31 | Now in the Multitrack mode you have
these four buttons here, so you can see the
| | 01:35 | controls for Inputs and
Outputs, Effects, Sends, and EQ.
| | 01:41 | Here in the Mixer View, they
each have their own place.
| | 01:43 | You can still collapse and expand
these sections if you want to, but it is
| | 01:47 | possible to see all four sections at once.
| | 01:49 | Note though that if your Audition window
is too small, or your screen resolution
| | 01:52 | is too low, in this case my screen
resolution is too low, some of these arrows
| | 01:57 | is going to be grayed out.
| | 01:58 | And I'm going to have to close a
couple of these other ones before I can open
| | 02:01 | the ones that are grayed out.
| | 02:04 | But I'm recording this movie at a
relatively low resolution, which is why
| | 02:07 | those are unavailable.
| | 02:09 | In most cases, you'll probably be
able to see all those controls at once.
| | 02:14 | But continuing to work
our way up we have the EQ.
| | 02:17 | Now each track has its own EQ module.
| | 02:19 | You can turn it on and off with the power button,
and you can adjust its settings with the Edit button.
| | 02:23 | And that opens the EQ in its own window.
| | 02:26 | So I powered it on--and let's move
this out of the way so you can see it in
| | 02:29 | the background here.
| | 02:30 | And I'll just select a preset of say
Heavy Guitar which changes my curve.
| | 02:36 | And you can see that EQ curve is reflected here
in this sort of thumbnail version on the track module.
| | 02:39 | I'm just going to leave
that powered off for now.
| | 02:43 | Above the EQ is the Control for Sends.
| | 02:46 | We'll get to this feature in the
upcoming movie on Creating Buses.
| | 02:49 | Next we have Effects, and as I
mentioned earlier, each track can have its own
| | 02:53 | collection of up to 16 effects that
apply only to that particular track.
| | 02:57 | So when you select an Effect here--I'll just
close that--you can see it gets listed in the track.
| | 03:03 | It also shows up in the
Effects Rack under Track Effects.
| | 03:07 | This is just a larger interface to
working with effects you have applied to
| | 03:10 | individual tracks, since the
track interface here is kind of tiny.
| | 03:13 | So right now I have Speech Volume Leveler
and Convolution Reverb set to this track.
| | 03:17 | If I were to select the second track
here, notice it's just showing me the hard
| | 03:20 | limiter effect that's applied to this track.
| | 03:23 | So Effects you add to tracks show up under
Track Effects here in the Effects Rack.
| | 03:28 | And again, they're only
applied to the selected clip.
| | 03:29 | If I switch to Clip Effects, any
effects I add in here get applied to the
| | 03:33 | entire mix as a whole.
| | 03:34 | Now I also have the option here to determine
whether the effects are applied pre or post-fader.
| | 03:39 | Pre-Fader means the effect is applied
to the original signal, Post means the
| | 03:43 | effect will be applied to the signal
after it's been adjusted by the fader on
| | 03:46 | that particular track.
| | 03:47 | So boosting or cutting the gain
may affect the Effect in that case.
| | 03:51 | Now unclick is Pre-Fader, if
you click it, that's Post-Fader.
| | 03:54 | You can tell by the little arrow it
follows the fader in that case, and it
| | 03:57 | precedes the fader in this case.
| | 03:59 | And there's also the option here to
Pre-render Track Effects, which is useful to
| | 04:03 | do if you got a lot of effects applied
to a track and your computer might not be
| | 04:06 | powerful enough to apply them in real-time.
| | 04:08 | When you Pre-render an Effect,
Audition creates a temporary Wave file of the
| | 04:12 | track with all the Effects applied, and it
plays that track when you listen to the mix.
| | 04:16 | I have a short movie on
this later in the chapter.
| | 04:18 | And then at the top of the track
we have our Input/Output settings.
| | 04:21 | And again, this is where you determine
where the signal coming into the track
| | 04:24 | is coming from, which is important if
you're recording live into Audition and
| | 04:27 | where it's being sent to.
| | 04:29 | By default, the Output goes to the
Master track, but you may be sending it
| | 04:32 | through an external audio
device for further processing.
| | 04:34 | Now at the very top we have the
Polarity Reverse button, and that reverses
| | 04:38 | the phase of the track.
| | 04:39 | For example, sometimes when using two
different models of microphones to record
| | 04:43 | the same sound, or if the microphones
are near each other so that the sounds
| | 04:46 | they're recording bleed into each other,
you may run into an issue where they
| | 04:49 | have opposite polarities from each other.
| | 04:51 | To telltale sign of this is that the
audio sounds really thin or has points
| | 04:55 | where it seems to drop out.
| | 04:57 | Now many pre-amps have a phase which
actually reverses that signal, but if you
| | 05:00 | weren't able to do that during the
recording process, you can try clicking the
| | 05:03 | Polarity Reverse button here
to see if it solves the problem.
| | 05:06 | If the problem is a phase
issue, that should do the trick.
| | 05:10 | Now we haven't talked much about it yet,
but the Master channel over here is
| | 05:12 | where all the elements come together.
| | 05:14 | As I mentioned earlier, by default, all
the signals from all of your tracks are
| | 05:18 | sent to the Master channel, and how you
mix them affects the relative levels of
| | 05:21 | each other as they're
sent to the Master Channel.
| | 05:23 | And the signal from the Master Channel
is what you're mixing to, and it controls
| | 05:27 | how your final output sounds.
| | 05:30 | Notice it has its own Fader,
Effects Area, and EQ, and so on.
| | 05:33 | but there's no Input or Output settings
and no Record Enable button because you
| | 05:37 | don't record to the Master Channel.
| | 05:39 | So again, all of these items are
available from the Multitrack Editor view
| | 05:42 | as well, but you'll probably find it more
comfortable to work with the mixer in some cases.
| | 05:46 | You may very well find that you like
to work with both simultaneously, in
| | 05:49 | which case, remember you can make the
mixer its own panel set by dragging it
| | 05:52 | out of the set, placing it maybe at the top of
the screen or wherever else you want to place it.
| | 05:56 | Of course, if you have the screen real
estate, you can hold down Command on the
| | 05:59 | Mac, or Ctrl on Windows, and just
make it its own floating window.
| | 06:03 | I don't really have that kind of
space to work, if you have some, I'm just
| | 06:05 | going to pair this back with the Multitrack
Editor, and I just like it on the right there.
| | 06:10 | All right, so that's the Mixer panel.
| | Collapse this transcript |
| Editing clips in Multitrack View| 00:00 | In this movie, I want to take a closer
look at how to work with and edit clips
| | 00:03 | in the multitrack environment.
| | 00:05 | We've already seen a bit of this on
how you can trim clips, add fades, move
| | 00:08 | clips around, and so on.
| | 00:10 | But here I want to cover a couple
other ways you can work with your clips.
| | 00:12 | Now, I need a slightly longer bit of
audio to work with here, so I'm just going
| | 00:16 | to grab the maya_intro file
that we have worked with before.
| | 00:18 | I've copied it to my desktop.
| | 00:21 | I'll just select it and open it, and I'll
switch back to the Multitrack Session here.
| | 00:25 | I'm just going to drag that file on to this
third track currently labeled Book Review.
| | 00:29 | Now, if you're working along with me
and you don't have access to the exercise
| | 00:32 | files, just bring in any audio clip
that's more than a few seconds long.
| | 00:37 | So, yes as we've seen, you can easily move
clips around once they're on your track.
| | 00:40 | I can drag it left and right, to
change when it starts playing in relation to
| | 00:43 | the rest of the tracks.
| | 00:45 | You can even drag clips up
or down on to other tracks.
| | 00:47 | I'm going to leave it butted against the
left side so it starts playing immediately.
| | 00:51 | And while I'm doing this, I'm just
going to go ahead and mute the other two
| | 00:54 | tracks so I will only hear this track.
| | 00:56 | Alternately, I could have of
course just solo this track too.
| | 01:01 | Now, the great thing about editing
clips in Multitrack mode is that nothing
| | 01:04 | you do is destructive.
| | 01:05 | I'm about to chop this clip up, move
bits of it around and perform other
| | 01:08 | changes to it, but nothing I do is
going to affect the original WAV file
| | 01:12 | sitting on my desktop.
| | 01:13 | All the edits that I performed here in
Multitrack mode are simply instructions
| | 01:16 | to Audition on how to play this clip
at any particular point in the timeline.
| | 01:20 | Now, if I did want to make a
permanent change to the WAV file, I would just
| | 01:23 | double-click it, which
opens it in the Waveform Editor.
| | 01:26 | So anything I do in here like changing
the volume or adding fades affects the
| | 01:30 | actual file, and those changes will be
reflected in any multitrack project that
| | 01:34 | this file is a part of.
| | 01:35 | But I'm not going to make any changes here.
| | 01:36 | I'm just going to Click Multitrack
to go back to my multitrack project.
| | 01:40 | Now, for example, there are a couple of
seconds of sounds here at the beginning
| | 01:43 | of this clip before the speaker starts
talking, and I want to trim that away.
| | 01:46 | And as we've seen, to trim the ends
of any clips on your tracks, place the
| | 01:49 | cursor over the right or left end, so you
see this Bracket Icon and then drag in.
| | 01:53 | I'll just drag it right before the speaking starts,
and I'll drag this clip back to the left
| | 01:58 | so that I when it starts playing from the
very beginning, the speaking start right away.
| | 02:03 | (male speaker: Hi, I'm George Maestri--)
| | 02:05 | But if I go back to the file itself,
notice that empty space is
| | 02:09 | still there at the beginning of this waveform.
| | 02:11 | So, that's what I mean by non-destructive
when you're editing in the multitrack mode.
| | 02:16 | Now, sometimes you'll trim a clip
because you needed to be at precise length, so
| | 02:19 | maybe you have trimmed the clip to the
length you need but you didn't quite grab
| | 02:22 | the portion of the audio you wanted to keep.
| | 02:24 | Instead of having to Undo and then trim the
clip again, you can just grab the Slip tool.
| | 02:29 | This lets you move your audio around
inside the clip, so the clip stays the
| | 02:33 | same duration, but the portion of
the audio that's played can be move or
| | 02:36 | slipped left and right.
| | 02:37 | You probably see this best
if you can see the whole clip.
| | 02:41 | And notice I can use a Slip tool, that
clip is staying the exact same length,
| | 02:45 | but now I can adjust the
contents within the clip.
| | 02:48 | So I can bring back that sound at the
beginning, but in doing so, I'm cutting
| | 02:51 | off the very end of the clip.
So, that's the Slip tool.
| | 02:55 | Let's look at some other ways
to edit and alter your clips.
| | 02:58 | I'm going to jump over to about the 51
second mark, and I'll just zoom in on that
| | 03:03 | a little bit, and there's a slight
flub here that I need to edit out.
| | 03:08 | (male speaker: --and inverse kinematics switches.
| | 03:11 | Then we're gonna take a look at facial animation,
at how--one more time. And then we're--)
| | 03:18 | So there's a little bit of flub here.
| | 03:20 | Now realistically, this is probably
the case where I would go back and edit
| | 03:23 | this out of the original file, but
who knows, maybe I really don't want to
| | 03:26 | alter that original file at all, and I can still
completely fix it here in my current project.
| | 03:30 | Now, in the Waveform Editor, you delete
sections of audio simply by dragging a
| | 03:34 | selection and pressing Delete.
| | 03:35 | Here in the Multitrack Editor,
we need to use a different tool.
| | 03:38 | I'm going to grab the Razor tool up here.
| | 03:40 | Now, there are actually two tools here
if you Click and Hold--there's the Razor
| | 03:44 | Selected Clips tool and Razor All Clips tool.
| | 03:46 | In this case, I want to make sure I have the
Razor Selected Clips tool, which is the default.
| | 03:51 | Razor All Clips tool actually
affects all your clips where you cut.
| | 03:54 | So notice if I select the Selected Clips tool,
| | 03:57 | when I bring the razor in, you see this line
showing me where I'm going to make my cut.
| | 04:01 | But if I select the All Clips tool,
that line extends across all of my tracks.
| | 04:07 | So if I did have other clips above and
below this track, they would also be cut
| | 04:11 | at the location I click.
So, I'm going to switch back to the other tool.
| | 04:15 | And all I have to do here is Click on either
side of the portion I want to get rid off.
| | 04:18 | One there and one there.
| | 04:22 | Now, you want to be careful when you
Click--and I'll demonstrate this again.
| | 04:24 | Let me undo that.
| | 04:26 | If you have your cursor over this
Volume Line here, you're actually going to
| | 04:29 | place what's called a Key Frame on the
Volume instead of Clicking with the tool.
| | 04:32 | I'm going to be talking about this
tool later in this chapter, but just make
| | 04:34 | sure you're not Clicking on that line.
I'm going to Click there and there.
| | 04:39 | Now in real life, I would probably be
more precise in this by first listening
| | 04:42 | closely to the clip again and maybe adding
some markers where I want to make my cuts.
| | 04:47 | And I'm just doing a quick edit
here and show you the Razor tool.
| | 04:49 | So I have made those cuts, and now I have
three separate clips on this particular track.
| | 04:53 | The one before the first cut, the one between
the two cuts, and the clip after the second cut.
| | 04:59 | I'm going to press V on my keyboard to
switch back to the Move tool, so I can
| | 05:02 | Click that center clip to select it.
| | 05:04 | And now I can simply press the Delete
button on my keyboard, and bam, it's gone.
| | 05:08 | Again, totally non-destructive. The
original file is still safely intact.
| | 05:12 | I've just told Audition to cut out
this portion of this particular instance.
| | 05:16 | But now I also have this large
gap here that I need to close.
| | 05:18 | Now, I can do a couple of things here: I
can simply grab the right clip and drag
| | 05:23 | it towards the first clip.
| | 05:25 | Notice when the two clips start to
overlap, something interesting happens.
| | 05:28 | Audition automatically insert a cross
fade, so the transition between this
| | 05:32 | clips isn't as harsh.
| | 05:33 | It fades out the first clip
and fades in the second clip.
| | 05:36 | Now, this probably isn't an issue in
this example because I have a natural gap
| | 05:39 | and dialog already between the two clips.
| | 05:41 | But if this were a continuous this audio
file, the cross dissolve might be more useful.
| | 05:45 | I'm just going to Undo that for now by
pressing Command+Z, Ctrl+Z on Windows.
| | 05:48 | So, when I was dragging, you might have
notice that the clip just kind of moves
| | 05:52 | smoothly across the track.
| | 05:54 | And that's nice in some cases, but
what would be really convenient here is it
| | 05:57 | would detect the end of the other clip
and just snap to it, so I can completely
| | 06:01 | close the gap between the clips.
| | 06:02 | But right it kind of just goes right
over that point, and I can't really tell
| | 06:05 | exactly where they meet.
| | 06:08 | Now, I'm going to right Click on my
Timeline, go to Snapping and choose Enabled.
| | 06:13 | Notice the keyboard short cut here is simply S.
Let me go back to that menu again.
| | 06:18 | Underneath Enabled, you can check all
the different elements you would like
| | 06:21 | items like clips and the playhead to snap to.
You can snap to rulers, markers, and so on.
| | 06:26 | I'm going to make sure that
Snap to Clips is selected.
| | 06:30 | So, now when I drag my clip left, you can see it's
snapping with other points along with timeline.
| | 06:34 | For instance, right here
it'll snap to the playhead.
| | 06:36 | But as I get closer to the other
clip, there, they snap together.
| | 06:40 | It's kind of like two magnets
coming together, which is why snapping is
| | 06:44 | represented by this button
up here with the magnet in it.
| | 06:48 | That's how you turn snapping on and off.
Rather than having to right Click and
| | 06:51 | choose Enable here or pressing S,
you can just use this button.
| | 06:54 | So, now when I come back here, snap them together,
I now know there's no overlap between the clips.
| | 06:59 | And as you saw, I can continue to drag
to create that cross fade again, but I
| | 07:03 | don't want to in this case, I just
want them to snap together end to end.
| | 07:06 | But actually there's more
than one way to close that gap.
| | 07:08 | I'm going to press Undo several times
'til I get back to the point before I
| | 07:12 | deleted that center clip, and this is
probably the easiest way to close the gap.
| | 07:16 | Instead of selecting that clip and
just pressing Delete on my keyboard, I can
| | 07:19 | press Shift+Delete to do
what's called a Ripple Delete.
| | 07:23 | That removes the clip and closes
the gap that clip leaves all at once.
| | 07:26 | Pretty cool, right?
I'm going to Undo that one more time.
| | 07:28 | Now, what if you just have a gap between clips
with no clip to Ripple Delete between them?
| | 07:33 | Maybe you just drag the clips on
to your track, just delete that.
| | 07:37 | All you have to do here is right
Click in the gap, choose Ripple Delete and
| | 07:41 | choose Gap and that closes the gap.
All right, so that's Ripple Deleting.
| | 07:46 | Now, when it comes to dragging your
clips around, sometimes you want to be
| | 07:48 | able to be a little bit more precise and maybe
the snapping feature isn't really helping.
| | 07:51 | I want to show you another useful
command you can use in those cases.
| | 07:54 | I'll just select one of these clips, and on to the
Clip menu, you'll find a Nudge Left and Nudge Right.
| | 08:00 | As their name indicates, this commands Nudge
your clip either left or right by tiny increments.
| | 08:05 | Notice the keyboard commands are Option+,
and Option+. or Alt+, or Alt+. on Windows.
| | 08:10 | Those keyboard commands are a lot more
convenient than pulling down from this menu.
| | 08:14 | So, to nudge you clip,
just make sure it's selected.
| | 08:16 | I'm also going to open the Properties
panel here so you can see the change.
| | 08:20 | Watch the Clip start and Clip end time.
| | 08:22 | Now, it's not really necessary
to open the Properties panel here.
| | 08:25 | I just want to demonstrate to you so
you can see how small these increments
| | 08:28 | are because you can't really see it by
looking at the clip over here most of the time.
| | 08:31 | So again, to nudge you clip make sure
it's selected, and when I use the keyboard
| | 08:35 | command of in this case Opt+. or comma.
| | 08:38 | I'm just nudging it tiny increments,
less than a second in each direction.
| | 08:42 | This can be useful when you're trying
to time some clips together precisely and
| | 08:45 | dragging with your mouse just isn't working.
| | 08:48 | And again, since everything I've done
here is non-destructive, I can always
| | 08:51 | revert the clip back to the way it
was or bring back audio that I cut out.
| | 08:54 | For example, if I wanted to get rid of
the cut that I made and go back to the
| | 08:57 | original audio, I could just delete
the second clip and then place my cursor
| | 09:02 | on the right edge of the first clip to
get the Trim tool and then just drag it
| | 09:05 | all the way to the right to reveal the
remainder of the audio in this particular clip.
| | 09:11 | I can even go back to the beginning
where I chop out that little bit of silence
| | 09:14 | and get that back too.
| | 09:16 | Okay, so there you have a couple of ways
to work with clips in Multitrack View.
| | 09:20 | And again, I do want to add that word
of caution that when you're dragging or
| | 09:22 | Clicking on your clips, try to avoid
Clicking on the yellow horizontal line
| | 09:26 | that runs through them.
| | 09:27 | Again, that's the Volume Control tool, and
we'll be looking at how that works later.
| | 09:30 | But for now just know that when you
Click it, you might end up changing the
| | 09:33 | volume of your clip at that point.
| | 09:35 | Notice that you get a slightly different looking
cursor when you role over the Volume Line.
| | 09:39 | Anywhere else in your clip is free game
for Clicking those, so just keep that in
| | 09:42 | mind, it's going to Undo that,
to get rid of that point I added.
| | 09:45 | But again, there you have a couple of
ways to work with clips in multitrack view.
| | Collapse this transcript |
| Grouping clips together| 00:00 | If you want to move or edit multiple
clips simultaneously, Audition CS6 makes it
| | 00:04 | easy to do so by letting you create Groups.
| | 00:07 | This is a really useful feature
for making changes to multiple
| | 00:09 | clips simultaneously.
| | 00:11 | Just make sure you have your Remove
tool selected and then drag a marquee to
| | 00:14 | select the clips that
you want to group together.
| | 00:16 | For example, I'll select
these first two tracks in my mix.
| | 00:18 | And I'll go to Clips > Groups > Group Clips.
| | 00:23 | The keyboard command is Command+G or
Ctrl+G. And the Group Clips in this case
| | 00:28 | are this sort of lavender color.
| | 00:30 | The color is going to vary because you
can have multiple groups and you can tell
| | 00:33 | which clips are grouped together by the
color they've been assigned by Audition.
| | 00:36 | If I were to ungroup these clips, just
as an example and then group them again,
| | 00:43 | you can see they take on different color.
| | 00:46 | Now that's a little too close to their
actual color so let me do that one more
| | 00:48 | time, and I'll just hit Command+G this time.
| | 00:51 | There we go.
So that's my group.
| | 00:53 | You can also tell they are grouped
together because they have this little group
| | 00:56 | icon in the lower left-hand corner of the clip.
| | 00:59 | Now I can drag them around and
they stay in the exact same relative
| | 01:01 | position to each other.
| | 01:02 | This can be a great help if you have
multiple tracks timed precisely together,
| | 01:06 | but need to move them to another part
of your mix or even to other tracks.
| | 01:11 | Notice even when Click off, Clicking
one of the clips selects them both again,
| | 01:14 | because they're part of the same group.
| | 01:15 | Now you can even make simultaneous changes.
| | 01:18 | Notice if I start trimming the music's
track beginning here, the track above it
| | 01:22 | also starts trimming as
soon as I come in line with it.
| | 01:26 | Same thing if I do it on the other end.
| | 01:27 | In this count we make sure that all
the clips that are grouped together start
| | 01:31 | and end at exactly the same time.
| | 01:33 | Now you can do this with clips even
when they're not grouped as long as they're
| | 01:36 | simultaneously selected, but it's much
easier to work with groups, because now
| | 01:39 | I don't have to select all of my clips
again anytime I want to make a change like this.
| | 01:42 | Now if you don't want this behavior
while you're working on your clip, you can
| | 01:46 | temporarily suspend the group by
going to Clip > Group > Suspend Groups or
| | 01:50 | pressing Shift+Command+G
or Shift+Ctrl+G on Windows.
| | 01:53 | You can tell they're suspended
because the group icon looks a little
| | 01:56 | bit different now.
| | 01:57 | And now I'll just click off to make sure
both aren't currently selected, and now
| | 02:01 | I can trim the clips individually
again and even move them independently.
| | 02:05 | When I reinstate the group by pressing
Shift+Command+G or Shift+Ctrl+G again to
| | 02:08 | unsuspend them, they're locked
together again in their current positions.
| | 02:14 | And you'll find a couple of other
group commands in the Groups menu as well.
| | 02:17 | Remove Focus Clip From Group is
useful if you have multiple clips in a
| | 02:20 | group but you want to remove just
one of them from the group while keeping
| | 02:22 | the rest grouped together.
| | 02:23 | Just select the clip you want to
remove and then select this command.
| | 02:26 | And Ungroup Selected Clips frees the
clips from the group and gives them their
| | 02:30 | independent status again.
| | 02:31 | So at this point they're no longer
grouped together, they're just regular clips.
| | 02:34 | Now they're still moving together
simultaneously because they're both still
| | 02:37 | selected, but if I just click off and select just
this clip, I can move that independently again.
| | Collapse this transcript |
| Creating bus groups| 00:00 | All right, so I'm going to close this
Podcast file I've been working with up to
| | 00:03 | this point in this chapter.
| | 00:05 | I'm just basically going to select
everything in the Files panel and click the
| | 00:07 | Trash icon to clear that all out.
And let's open up another multitrack session.
| | 00:11 | I have one on my Desktop, and I'll use the
Media Browser in this case just for a change.
| | 00:15 | Out on my Desktop I've got a
Breakdown Mode folder, and in there is a
| | 00:19 | Breakdown_Mode session file. I'll open that up.
| | 00:22 | So this is a rough mix of a
complete song, and it comprises 31 tracks.
| | 00:27 | I'll just compress this a little bit
so you can see all the tracks in here.
| | 00:31 | So we've got drum tracks, bass guitar,
keys, vocals, background vocals, and so on.
| | 00:36 | Let me go ahead and play
about a minute of this for you.
| | 00:40 | (music playing)
| | 00:58 | Switch over to the mixer.
| | 01:01 | (music playing)
| | 01:32 | So as you can see, we've got a lot going
on here in this multitrack session.
| | 01:35 | Let me scroll down a bit
here in the Multitrack Editor.
| | 01:38 | Now here under the Lead Vocal track is where
I'll find all the backing vocal tracks.
| | 01:43 | We have some tracks that
double the lead during the course.
| | 01:46 | We've got Verse background tracks, Verse BLs.
| | 01:50 | We've got tracks labeled Oohs and
we've got Chorus background vocals.
| | 01:55 | Now in this particular session we have
separate tracks for the left and right
| | 01:59 | channels of all the backing vocals.
| | 02:00 | Notice how each one is either
hard panned left or hard panned right.
| | 02:03 | Scroll up a little bit so you can see,
for example, Oohs L and Oohs R, they're
| | 02:08 | panned hard left and hard right.
| | 02:10 | Let me use these as an example.
| | 02:12 | I'm just going to Solo both of these
tracks, and I'll play a little bit so you
| | 02:15 | can hear how each one is
panned hard left and hard right.
| | 02:23 | (music playing)
| | 02:32 | So that's just the right.
This is just the left.
| | 02:41 | So these vocals are pretty much meant
to sound nearly the same as each other,
| | 02:44 | and chances are I want to mix both of
them at the same level relative to the
| | 02:47 | rest of the song.
| | 02:48 | So if while mixing I wanted to bring
them up or down, I'd have to first adjust
| | 02:51 | the volume of one of them, maybe I drag
that down 3 or 4 decibels, in this case
| | 02:57 | -3.6 dB, and I have to use the
same thing to the right track.
| | 03:01 | You can see I kind of have to nudge to
this or maybe I even might come in here
| | 03:05 | just type in that value,
so I can match them exactly.
| | 03:09 | Now even worse if I wanted to add an
affect to this backing vocals, may be I'll
| | 03:12 | switch to the Effects track here and to
this track I want to add some Reverb, so
| | 03:17 | these Convolution Reverb, I'll
just use that default setting.
| | 03:21 | But the point is I'd first have to
figure out the setting for the Reverb that
| | 03:23 | I want to apply, and then I have to do the
same thing for the second track, like so.
| | 03:31 | And maybe after listening to the overall
effect, I don't want to make other adjustments.
| | 03:37 | So any adjustments that I want to
make, I'd have to do twice as well.
| | 03:40 | So you can see how this would become
really tedious and would be a really
| | 03:43 | inefficient way of working.
| | 03:44 | I'm just going to open up my History panel here,
and let's go back to the way it was when it opens.
| | 03:51 | When it opens I can undo these effects.
Now here's an easier way.
| | 03:54 | I'm going to switch over to view the
Input/Output control for the tracks and
| | 03:59 | I'm going to expand the height of my tracks, so
I can see both the Input and the Output menus.
| | 04:03 | Now you may recall from earlier that the default
output of each track is the Master Channel.
| | 04:08 | All the tracks are mixed to the Master
Channel which you can then use to adjust
| | 04:11 | the overall volume, add effects
to the entire project, and so on.
| | 04:14 | But you can also route the audio from any track
elsewhere before it heads over to the Master track.
| | 04:19 | So for Oohs L I'm going to choose Bus >
Add Bus, and I'll make this a Stereo Bus.
| | 04:26 | That creates what's called
a Bus Track or Bus Group.
| | 04:28 | Right now, it's called Bus A, but
I'm just going to rename this, let's
| | 04:31 | called this the Oohs Bus.
| | 04:36 | Now these Bus Tracks are special tracks,
you can't drag audio files to them and
| | 04:39 | you can't record directly to them.
Notice there's no Record Enable button here.
| | 04:43 | Also notice it's a slightly different
color and it has a different icon up
| | 04:47 | here next to its name.
| | 04:49 | It kind of represents multiple
signals coming into one track.
| | 04:52 | So Buses are used to
control multiple tracks at once.
| | 04:54 | And now you can see that instead of
going to the Master Channel, the audio from
| | 04:58 | Oohs L is being routed to the Oohs Bus.
| | 05:02 | I'll scroll down and do the
same thing for the Oohs R track.
| | 05:04 | I'll send that to the Bus and now I
can send it to the Bus that already
| | 05:08 | exists, right there.
| | 05:10 | So now both the Left and Right Oohs
tracks are being sent to the Oohs Bus.
| | 05:14 | Now I'm just going to drag this down
so it's below both the Left and Right
| | 05:18 | channel, but that's just a
personal preference of mine.
| | 05:19 | So you can see we have Oohs L,
Oohs R, and then Oohs Bus.
| | 05:25 | So now any effects volume level changes
and so on that I make to the Bus Group
| | 05:29 | will be applied to every track that's
sending its output through it, in this
| | 05:32 | case the two Oohs tracks.
| | 05:34 | So I'll hit Play again, and then I'm
going to increase the gain of the Bus Track
| | 05:37 | and you'll hear both Oohs coming up.
| | 05:39 | (music playing)
| | 05:52 | So it's much easier to control the volume
of these two independent tracks now.
| | 05:56 | I can still go to each individual
track and make changes, like if I wanted to
| | 05:59 | push the left vocal back a bit for
some reason, I can still do that and now
| | 06:03 | they'll still maintain the relative
level to each other, but I can still control
| | 06:06 | both of them using the Bus Track.
| | 06:10 | Similarly I can now add effects to the
Bus Group and that effect will be applied
| | 06:13 | to any tracks going through it.
| | 06:14 | If I switch to Effects, I can go back
in, add my Reverb again, and now you
| | 06:20 | should be able to hear that
effect applied to both tracks.
| | 06:23 | (music playing)
| | 06:26 | And I want to bring that up again now.
(music playing)
| | 06:30 | I can toggle that on an off for both tracks.
| | 06:36 | Another nice thing about Bus Groups is
that you can quickly Mute and Solo all of
| | 06:39 | the tracks going through the group.
| | 06:43 | So I can Mute them both simultaneously
or even Solo them simultaneously.
| | 06:47 | (music playing)
| | 06:55 | So that's how to create a Bus Group.
| | 06:58 | Just route the output of any tracks you
want to group together into the same Bus
| | 07:01 | and then the Bus sends its
output to the Master Channel.
| | 07:04 | So you can see right now the Output is
set to Master, although you could also
| | 07:08 | send it to yet another Bus if you need to.
| | 07:10 | Some people create submixes this way.
| | 07:12 | For example, I've got three other types
of backing vocals in this session, each
| | 07:15 | one is split to left and right channels.
| | 07:17 | I can make things easy on myself by
creating a Bus for each one and then route
| | 07:20 | all four into a Master backing vocals Bus.
| | 07:23 | Or maybe I want to create a submix of
all the drum tracks, so I'll be able to
| | 07:26 | mix the drums, but then just have one
fader on the drums Bus to bring all the
| | 07:31 | drums up and down in the mix.
| | 07:32 | I'm not going to do that right now, but
I think you can see the advantage of a
| | 07:35 | workflow like that and if you have
access to the exercise files, you're
| | 07:38 | welcome to take this multitrack session
and try creating a couple more Buses on your own.
| | Collapse this transcript |
| Routing and working with sends| 00:00 | In the previous movie, we looked at
creating Bus Tracks for the purpose
| | 00:03 | of controlling the overall sound of multiple
tracks that make Sends to group together.
| | 00:07 | A bus Group let's you adjust the
overall volume of the tracks routed through it
| | 00:11 | or to apply effects to all the group tracks at
once or to Mute or Solo all of the tracks, and so on.
| | 00:15 | In this movie I'd like to show
you another use for Bus Tracks.
| | 00:18 | Depending on your setup you may be
able to monitor or listen to your session
| | 00:21 | through multiple devices.
| | 00:22 | Maybe you have hardware connected to
your computer that can receive multiple
| | 00:25 | inputs from the computer, which allows
you to maybe switch between listening
| | 00:28 | through an amp and speakers to headphones.
| | 00:31 | In order to do this, you have to setup
Sends, and we can check up our Sends by
| | 00:35 | Clicking the Sends button here.
| | 00:37 | Each track has a Send Module which
allows you to send the signal to multiple
| | 00:41 | places or devices depending
on how your hardware is setup.
| | 00:44 | Now some people confuse busses and
Sends, but they are two different things.
| | 00:48 | When we were looking at busses, we were
working with the Input and Output controls.
| | 00:52 | And here what you're doing is sending
the output of this track post-fader to the
| | 00:55 | bus of your selection.
| | 00:57 | That means that anything we've done
to the track, including raising or
| | 00:59 | lowering its volume and applying
effects gets sent to the bus, and we can only
| | 01:04 | have one output option here.
| | 01:05 | The output can't go to both the Master
Track and a Bus Track, for example, it
| | 01:09 | can only go to one or the other.
Let's switch back to the Sends Controls.
| | 01:12 | Think of the Send as an additional
and optional means of sending a track's
| | 01:16 | signal to a location and you can choose
whether to send the pre or post-fader signal.
| | 01:21 | Now I could send the signal of this
track to any other busses I've created, but
| | 01:24 | for this example, let's say I want to
be able to have a separate output for a
| | 01:28 | headphone monitor I have
hooked up to my computer.
| | 01:30 | I'll Click the S1 or Set Number One menu,
and I'll choose Add bus > Stereo, and
| | 01:36 | that creates a new Bus Track for me.
| | 01:38 | This is very similar to what we did
in the previous movie to create a bus
| | 01:41 | submix, but the difference here or one
of the differences is that this track's
| | 01:45 | main output is still the Master Track,
but in addition to that I'm also sending
| | 01:50 | the audio to this Bus Track that I
just created, in this case it's called bus B.
| | 01:55 | Let's rename this to Headphone mixer,
so you can see now I'm sending the
| | 01:59 | audio to the Headphone mixer from
this Send, but its main output is still
| | 02:02 | going to the Master as well.
| | 02:04 | Then what I do here is switch back to the
Input/Output controls, and then I would
| | 02:09 | send the Headphone mixer busses output
to the hardware where I've got connected
| | 02:11 | to my sound card, it might be a USB
device I have connected, for example.
| | 02:14 | Now in this case I don't actually have
anything hooked up to my computer, but if
| | 02:18 | I did I could pick it from this menu.
| | 02:20 | Then my next step would be to go through
every single other track that I want to
| | 02:23 | be able to hear through my headphones
and then add a Send to the headphone bus.
| | 02:27 | So, for example, I would go to the next track,
go to Sends, and create a Send to the Headphone Mixer.
| | 02:33 | Now I'm not going to go through do
every track since I have over 30 tracks I'm
| | 02:36 | working with here, but I think you get the idea.
| | 02:38 | Any tracks I send to the headphone bus
will be heard through the headphone bus
| | 02:41 | and I can control things through this
bus like the overall volume, the pan and
| | 02:45 | I can even mute or solo the bus, so
if, for example, no one was using the
| | 02:48 | headphones at the time and I could
hear them bleeding through the headphones
| | 02:51 | while they are sitting on my desk, I could
just mute everything with a single click here.
| | 02:54 | Now this is just one example
of how you might use Sends.
| | 02:57 | Remember you can have up
to 16 Sends on each track.
| | 03:00 | Now it's a bit of a weird interface,
quirkier in my opinion but to get to the
| | 03:03 | next available Send you don't Click
here, which looks like a pop-up menu, but
| | 03:07 | instead you use the scroll bar to the right.
| | 03:09 | That gives me--in this case Send 2--
actually I should be doing this not on the
| | 03:12 | headphone mixer but on the first track here.
| | 03:15 | I can switch to Send 2, which I can
then route to another bus if I need to.
| | 03:19 | Now each track send area is where you can turn
a particular Send on and off with this power button here.
| | 03:25 | And again, you can even choose whether
you're sending the signal pre or post-fader.
| | 03:29 | On top of that, you can adjust the Gain
Level for each particular Send as well.
| | 03:32 | All right, so that's working
with Sends in Adobe Audition.
| | 03:35 | Now for the purposes of this exercise
I'm actually going to just delete this
| | 03:38 | Headphone mixer track, because I don't
have the proper Sends to send it to and I
| | 03:42 | don't want to mess up the rest of the
audio that I'm recording for these movies,
| | 03:45 | I'm just going to go to Multitrack > Track >
Delete Selected Track, I'll say Yes I want to continue.
| | 03:51 | And you can see because I no longer
have that track, I'm no longer sending to
| | 03:55 | that non-existing track from
either of the two tracks that I setup.
| | 03:59 | But that's how to work
with Sends in Adobe Audition.
| | 04:01 | They really give you an incredible
amount of flexibility for routing the audio
| | 04:04 | from each track to different
destinations simultaneously.
| | Collapse this transcript |
| Using automation| 00:00 | So far, we've looked at how to adjust
the volume level of individual tracks
| | 00:03 | using the Volume Dial on each of the
tracks here in the Multitrack View.
| | 00:07 | And we also saw that you can do this
by going to the Mixer, and adjusting
| | 00:10 | the faders here.
| | 00:12 | Both really do the same thing.
| | 00:14 | But you're not always going to want to
have certain tracks be the exact same
| | 00:16 | level throughout the entire
song or project you're working on.
| | 00:19 | I'm still working in this Breakdown Mode song.
| | 00:21 | So let's go to this Guitar 1
track here for this example.
| | 00:25 | I'm just going to solo that up.
| | 00:26 | Now, you have probably already noticed
these horizontal lines that run across
| | 00:29 | all the clips and the tracks.
| | 00:31 | These are called Automation Envelopes,
and they allow you to make changes to
| | 00:34 | the volume and if it's a stereo song the panning
as well, and you're adjusting both over time.
| | 00:40 | That's really very easy to do.
| | 00:42 | First of all, if I want to bump the
clip's volume up or down, I can click and
| | 00:45 | grab this yellow line--that's the
Volume Envelope--and drag it up or down.
| | 00:50 | That increases or decreases the volume
of the entire clip, but it doesn't alter
| | 00:53 | the volume settings on the track controls.
| | 00:56 | This might be useful if you have
multiple clips that have different volume
| | 00:59 | levels sitting on the same track.
| | 01:00 | You can use the Volume Envelope to
bring the level of the clips more in
| | 01:02 | line with each other.
| | 01:05 | I am just going to drag this
back until it snaps at 0 db again.
| | 01:08 | Now, this is the default behavior
and appearance of Automation Envelopes.
| | 01:11 | But just in case you don't see this
Yellow Line, click here where it says Volume
| | 01:14 | on this clip and just make
sure nothing here is checked.
| | 01:16 | That will ensure that you
see the Volume Envelope.
| | 01:20 | Now, if you want to automate volume
changes in a track, all it requires is for
| | 01:23 | you to click the point on the line
where you want the volume to change.
| | 01:26 | Maybe right after the guitar starts
playing in this track, I'd like it to
| | 01:29 | gradually increase in volume.
| | 01:30 | So I will click on the volume line at the point
where I want the change to start happening.
| | 01:34 | That's a little dot called a keyframe.
| | 01:36 | Now, I just click the point where I
want the volume change to be complete, and
| | 01:40 | drag it up to where I want
the volume to be at that point.
| | 01:42 | Let's give that a listen.
| | 01:45 | (music playing)
| | 01:54 | So you should have been able to
hear the increase in volume there.
| | 01:57 | Now, by looking at the Volume Line, I
can also see that the volume will remain
| | 02:01 | at this increased level
throughout the rest of the clip.
| | 02:03 | I want it to drop back down to its original
level of 0 db after this first section is done.
| | 02:07 | So I'm just going to add another
keyframe, and drag it down right there, and
| | 02:11 | again, it snaps to 0 db.
| | 02:14 | Now, this is a gradual decrease in volume as
you can tell by looking at the Volume Envelope Line.
| | 02:18 | If I wanted it to be more abrupt,
I just, yup, add another keyframe.
| | 02:22 | I'm going to drag that up and line
with the other one, and now I will have a
| | 02:26 | much faster drop in volume level.
| | 02:28 | Let's listen again.
| | 02:33 | (music playing)
| | 02:37 | So, it increases there.
I'll just jump ahead.
| | 02:41 | (music playing)
And it drops back down here.
| | 02:44 | (music playing)
| | 02:48 | And you're free to move existing
keyframes around to make adjustments.
| | 02:52 | So if I want that to be a little bit
more gradual, I can drag that left, or you
| | 02:55 | can right-click on keyframes and delete them.
| | 02:59 | Now, while you're in here,
you'll also find Hold Keyframe.
| | 03:01 | Let me actually show you what this
looks like by clicking on this one.
| | 03:04 | I'll choose Hold Keyframe.
| | 03:07 | So, instead of a gradual change
between keyframes, it keeps the volume level
| | 03:10 | where it is until the next keyframe
comes up, and then it immediately changes.
| | 03:14 | So, you can see it will come up to this
level, stay at that level until the next
| | 03:17 | keyframe and then immediately drop down.
| | 03:18 | You'll also find Spline Curves which changes
the transition to more of a gradual curve.
| | 03:24 | I will just hit Undo a couple of times here.
| | 03:27 | So that's one way of automating your volume
to have a change at specific times during playback.
| | 03:31 | Now, as I mentioned, the other
line here is the Panning Envelope.
| | 03:35 | There maybe times when you want some
audio to travel from the left to right
| | 03:37 | channel to the opposite side during playback.
| | 03:39 | Again, you can just grab the line if you
want to change the panning for the entire clip.
| | 03:42 | Let's go ahead and play
some of this for you again.
| | 03:46 | (music playing)
That's panned left.
| | 03:52 | (music playing)
That's panned far right.
| | 03:57 | But you can also click to add keyframes.
| | 03:59 | So maybe I want to get this part of
the track to bounce from side to side.
| | 04:02 | I just add a bunch of points,
and drag them up and down.
| | 04:06 | Here, we'll go left, here we will
go right, left, right, and so on.
| | 04:16 | So if you're wearing headphones, you should
really be able to hear the difference here.
| | 04:19 | (music playing)
| | 04:23 | Moving from left to right, back to left.
(music playing)
| | 04:28 | And notice this is having no
effect on the panning knob here.
| | 04:30 | Again, this is a clip-specific change I've made.
| | 04:36 | And this really only does work if you
have this main Pan Knob centered.
| | 04:39 | If I mute this track, and I solo up
this other track beneath it, you can see
| | 04:44 | this one is panned hard to the left.
| | 04:46 | And notice you won't be able to hear
anything when I drag the Pan Line down
| | 04:48 | to the right channel.
(music playing)
| | 04:55 | So again, this Panning
Envelope will really only do its job if
| | 04:58 | you have the pan of the track set to center.
| | 05:01 | Let's go back to that main guitar track again.
| | 05:04 | So these Envelope Lines you see in
the clips are clip based changes.
| | 05:07 | Audition does however give the ability
to automate changes to volume, panning,
| | 05:11 | and other settings to the track itself.
| | 05:13 | This might be useful if you have
multiple takes of the same performance, and you
| | 05:16 | want to swap a few changes in and
out to see which one you like better
| | 05:19 | while maintaining the same
volume and panning settings.
| | 05:22 | If you set the volume or panning
changes to the track, those changes will occur
| | 05:25 | at exactly the same time to
whatever clip you drag into the track.
| | 05:27 | I'm just going to get rid of these
keyframes right now by right-clicking on both
| | 05:31 | envelope lines, choosing Select All
Keyframes, and then Delete Selected Keyframes
| | 05:35 | and I'll do the same thing
with the Volume Envelope.
| | 05:41 | Now, I'm going to click
this little Toggle Arrow here.
| | 05:43 | It reveals this Show Envelopes menu
and also displays another section of the
| | 05:47 | track where you can see another Envelope Line.
| | 05:50 | These work the exact same way as the clip-based
envelopes, but these apply to the entire track.
| | 05:54 | From the Show Envelopes menu, you can
choose to show Volume and Panning like
| | 05:58 | before to give us two lines.
| | 06:00 | But you also have the ability to have
Mute Envelope Lines, Track EQ from which
| | 06:04 | you can have one of several preset EQ
settings that you'll be able to bring up
| | 06:07 | and down in the track, as well as
Rack Input, Output, Mix, and Power.
| | 06:11 | Let's just keep Volume and Pan selected
for now, so we can see how similar they
| | 06:15 | are to their clip based counterparts.
| | 06:17 | I'm also going to expand this track a little
bit so I can reveal one more menu here.
| | 06:22 | So we can choose which envelope we want
to work with using this menu to select
| | 06:25 | Volume or Pan or which other envelopes
we have activated, but it also works if
| | 06:28 | you just click and drag on the lines too.
So there's Pan.
| | 06:31 | Now, I added a keyframe there,
so I'm just going to undo.
| | 06:34 | But you can see I can switch
to Volume and do the same thing.
| | 06:37 | But again, that adds a
keyframe, just undo that for now.
| | 06:40 | So, if I want to automate the volume
for this track, I just click to add
| | 06:43 | keyframes like I did
before and move them around.
| | 06:46 | So previously, I had something like this.
| | 06:53 | Let me actually just shorten this a
little bit so you can see it actually doing
| | 06:55 | something, because notice when I play
this now, you will actually see the Volume
| | 07:00 | Knob moving as I play the track.
| | 07:05 | (music playing)
| | 07:15 | And there it's dropping again.
| | 07:18 | Now the same thing applies if I
switch to the Mixer panel now.
| | 07:22 | I'll find my guitar track, there it is.
So watch the fader here!
| | 07:27 | (music playing)
| | 07:35 | Now, it starts to coming down.
| | 07:39 | (music playing)
| | 07:45 | And eventually, it will reach to 0 again.
| | 07:48 | Now, when working with track based envelopes,
you get a couple of more tools down here as well.
| | 07:53 | You can use these arrows to jump forward
or back to the next or previous keyframes.
| | 07:58 | This Keyframe button here in the
middle allows you to add new keyframes
| | 08:01 | wherever the playhead currently is, or
if there's one already there, you can
| | 08:04 | Click to remove it, like so,
or I can click to add it back.
| | 08:08 | Now, it doesn't add it in the same
location because I just added a default
| | 08:10 | keyframe there, but I'm free
to move that anywhere I want to.
| | 08:14 | We also have this button
here to clear all the keyframes.
| | 08:17 | Now, that only applies to the
currently selected envelope.
| | 08:20 | Clicking that now will remove all
keyframes from my volume envelope but not
| | 08:24 | from say the pan envelope if I
had already added keyframes to it.
| | 08:26 | Now, there's also a Lock button to
protect the parameter from being written to
| | 08:30 | when recording automation.
| | 08:32 | Now, what does that mean, Recording Automation?
First, notice this menu here is set to Read.
| | 08:37 | Every track has this Read menu.
| | 08:40 | Read means this track is going to read
and apply whatever automation has been specified.
| | 08:45 | If you want to hear your track without
the automation envelopes applied, just select off.
| | 08:49 | Then when you play back, none of
the envelopes will have any effect.
| | 08:52 | The track will then play whatever the
current volume and pan settings are.
| | 08:56 | Now, below Off and Read, we
also have Write, Latch, and Touch.
| | 09:00 | These are new capabilities to Audition CS6.
| | 09:03 | These are options that let you create
envelope points on the fly during playback.
| | 09:06 | Sometimes you want your volume or
pan changes to happen very precisely
| | 09:10 | and clicking to add keyframes along
the envelope isn't the most precise
| | 09:13 | way of specifying changes.
| | 09:15 | More often than not, you'll want to be
actively adjusting the volume or pan or
| | 09:18 | other envelope settings while you're
actually listening to your song or project.
| | 09:22 | Now, at first glance, it's hard to
tell the difference between what Write,
| | 09:25 | Latch, and Touch do.
So here is the rundown.
| | 09:28 | They all work while playing the song,
and they record what you're doing by
| | 09:31 | adding the appropriate keyframes
to the Volume or Pan envelopes.
| | 09:35 | So Write overwrites all changes
that have previously been made.
| | 09:39 | So with the Volume envelope selected,
I'll start playing the track over the
| | 09:43 | part where I've already made some keyframes,
and I'm going to move the Volume Knob around.
| | 09:51 | (music playing)
| | 10:01 | Now, as you can see,
that adds a lot of keyframes because it's
| | 10:04 | capturing each incremental change in volume.
| | 10:06 | Notice also that it overwrote the
changes that I had there before.
| | 10:09 | I didn't get as far as these last two
keyframes, so it kept those there, but if
| | 10:13 | I had allowed this to roll, it
would have written over those keyframes.
| | 10:16 | I'm going to undo that.
| | 10:18 | Now, notice this has also switched to Touch.
We'll come back to Touch in just a moment.
| | 10:21 | We'll switch over to Latch for now.
| | 10:24 | And I actually clipped it while I
was playing with the volumes here.
| | 10:26 | Let's undo that.
| | 10:28 | Now, like Write, Latch also captures
what I'm doing, but it doesn't change
| | 10:31 | what's already there as long as I'm not making
an active change over an existing keyframe.
| | 10:36 | To demonstrate this, I'm going to
move the playhead back to before that
| | 10:38 | first keyframe again, and I'm not going to make
any changes until after those first two keyframes.
| | 10:43 | (music playing)
| | 10:49 | So you can actually see the
dial continuing to move here.
| | 10:53 | Still going down, and then we want to
drop it down real fast, and then back up.
| | 10:59 | And maybe there again, and notice it stays
there with the last place I set it to.
| | 11:04 | So you can see it kept my original
keyframes in place until the point where I
| | 11:08 | actually started making volume changes.
| | 11:11 | If I've had this in Write mode, it
would have overwritten those first two
| | 11:13 | keyframes whether I had made
any changes to that point or not.
| | 11:16 | So Latch adds on to the envelope
without overwriting what's there unless you
| | 11:20 | deliberately make a change
over an existing keyframes.
| | 11:22 | Again, let me undo that.
The last selection we have here is Touch.
| | 11:27 | It's good for adding finishing touches
to the envelope if you just nudge things
| | 11:30 | a little in one direction or another.
| | 11:32 | It works by returning the Volume, Pan
or whatever to what the line dictates as
| | 11:36 | soon as you release the knob.
Watch as I play this track.
| | 11:39 | I'm going to nudge the volume and as
soon as I release the knob, it will go back
| | 11:42 | to where the envelope line specifies.
| | 11:48 | (music playing)
| | 12:00 | So, this might be useful
when you're mixing if there are certain
| | 12:02 | parts of the recording that just
need a slight and temporary boost.
| | 12:05 | You could graph out the Volume Envelope
for the overall track first, then switch
| | 12:08 | to Touch to bring up specific parts at
specific times, and whenever you release
| | 12:12 | your mouse, it will jump back
down to your original graph.
| | 12:14 | But for now, I'm just going to clear
all the keyframes, close that area, set
| | 12:19 | it back to Read.
| | 12:21 | That's how to work with the new
Automation Tools in Audition CS6.
| | Collapse this transcript |
| Pre-rendering tracks| 00:00 | It would be great if we could always
do our work on the most current and
| | 00:03 | powerful computers available.
| | 00:04 | But the fact is that computers get old,
software gets more powerful, and when an
| | 00:09 | older computer meets new software you
might have trouble keeping up, especially
| | 00:12 | if it's a content creation program like
Audition, where you might have dozens of
| | 00:16 | tracks of audio playing
simultaneously as well as effects applied to those
| | 00:19 | tracks that Audition is rendering on the fly.
| | 00:21 | I'm going to switch to fx, and
earlier I touched on this Pre-render button
| | 00:26 | that you can see here on each track and also
if you're in the Mixer, you'll see it here as well.
| | 00:31 | It's the same button in both places.
| | 00:34 | Now we saw earlier that some effects
take up more processing power than others.
| | 00:37 | For example, I'll add in an effect to this guitar
track, I'll choose Reverb > Full Reverb.
| | 00:43 | And again, I'm getting this message
telling me that the selected effect
| | 00:45 | might not be suitable for real-time playback
because it's either CPU-intensive or high-latency.
| | 00:51 | If I Click OK it adds it, but I
can see that it's in red here.
| | 00:56 | Now, I'm working on a relatively fast
computer, and it's not going to have a
| | 00:58 | problem rendering this effect.
| | 01:00 | But if you are noticing performance issues in
your playback, you can Click the Pre-render button.
| | 01:04 | Let's go ahead and close this for a moment.
| | 01:07 | When you Pre-render an effect,
Audition creates a temporary WAV file of the
| | 01:11 | track with all the effects applied, and it plays
that track when you listen to the mix.
| | 01:15 | That way, you don't have to spent CPU power
processing the effects on the fly each time.
| | 01:19 | Now, you might have noticed that a
little Progress Meter showed up right next to
| | 01:22 | the track name while it was doing the rendering.
| | 01:25 | Each time you make a change to the
track, whether it's by adding another effect
| | 01:28 | or simply moving the clip--let me
just drag this to the right a little bit.
| | 01:30 | You can see it's now rewriting the track,
and that lets you know that Audition is
| | 01:36 | creating that WAV file each time.
| | 01:38 | I'll move it back and
you'll see it render again.
| | 01:42 | There it goes.
| | 01:44 | But each time it does this every
change you make will result in Audition
| | 01:46 | creating a new version of
that temporary WAV file.
| | 01:49 | Again, if you have a relatively modern and fast
computer, you might not have to worry about this.
| | 01:53 | But if things are a bit sluggish for
you, you can give Pre-rendering a try.
| | 01:57 | As you saw it takes a couple of seconds
for the WAV file to be written and a lot
| | 02:00 | of that depends on how
long a particular track is.
| | 02:02 | But Pre-rendering should solve
any playback issues you may have.
| | 02:05 | Now if you find you no longer need pre-rendering--
maybe you remove the effect altogether--
| | 02:12 | it's a simple matter to just turn
this off, so Audition isn't writing a new
| | 02:15 | temporary file each time you
make a change to the track.
| | Collapse this transcript |
| Exporting the mix| 00:00 | Once you're satisfied with your mix, you
want to save it as a single file so you
| | 00:03 | can play for others or burn it to a CD
or use it as a soundtrack for a video.
| | 00:08 | Whatever the case, you will want to
export a single file of your song or project
| | 00:11 | and you do so from the file menu.
| | 00:13 | Here, I choose Export >
Multitrack Mixdown > Entire Session.
| | 00:17 | The other option here is Time Selection,
which if I've made a selection within
| | 00:20 | my mix it would allow me to
export just that particular selection.
| | 00:23 | That might be useful if you want to send a guitar
solo for the artist to approve or something like that.
| | 00:28 | But in this case, I want to
choose to export the entire session.
| | 00:30 | That gives me the Export
Multitrack Mixdown window.
| | 00:34 | First field is for the file Name, just
type whatever you want in this field.
| | 00:37 | I'm going to call this Breakdown_Mode_rough
to indicate that this is a rough mix.
| | 00:43 | The file extension will be determined by
whatever you have selected in the Format menu here.
| | 00:47 | I'll get to that in just a second.
| | 00:49 | The Location field shows where
this file is going to be exported to.
| | 00:52 | Click Browse to choose another location.
I'm going to save this to my Desktop.
| | 00:57 | Okay so for the Format, you can choose
from many different audio formats here.
| | 01:01 | If you want to save a high quality
uncompressed version of the file, choose
| | 01:04 | either WAV--which is the default--or AIF.
| | 01:07 | Traditionally, AIFs were for
Macs and WAVs were for Windows.
| | 01:11 | But since the Mac can read either one
these days, I'm going to stick with WAV.
| | 01:14 | Now, if you want to change the
Sample Type you can click Change here.
| | 01:17 | But I'm going to leave mine as Same as Source.
| | 01:19 | I'm not going to bother with
any conversions in this case.
| | 01:23 | Under Format Settings you see the
current settings for the format you selected.
| | 01:26 | Now this is going to change based on
what you select as the format, for example,
| | 01:30 | maybe I want to email this mix to a friend.
| | 01:32 | A WAV file is most likely
going to be too large to email.
| | 01:34 | So, maybe I want to switch this to MP3.
| | 01:36 | So now the Format Settings show that
this is an MP3 and has a default bit rate
| | 01:41 | of 192 Kb per second at a constant bit rate.
| | 01:44 | You can click Change if you want to
alter those settings, and what you see here,
| | 01:48 | it's going to depend on what format you chose.
| | 01:50 | For the MP3 I can choose between
a Constant or a Variable bit rate.
| | 01:54 | And then I can make a
setting based on that choice above.
| | 01:58 | I'm going to keep it the way it is.
| | 02:00 | And under Mixdown options
you have some cool choices.
| | 02:02 | By default, I'm creating a single file,
a mix of the song in its current state.
| | 02:06 | I can also Click Change here and select
other sources to export simultaneously.
| | 02:11 | This is a stereo mix, so I'm
exporting a Stereo version.
| | 02:14 | I could also check my Mono and 5.1 if I
wanted to export a mono mix and a surround mix.
| | 02:19 | I didn't really set up my mix for either of
those, so I'm going to keep those unchecked.
| | 02:23 | But what's really cool about this to me is
that you can also export individual tracks.
| | 02:27 | Maybe the bass player wants to
hear his track isolated on its own.
| | 02:30 | I can scroll down, find bass and check it.
Notice that puts a little I icon down here.
| | 02:36 | That tells me that exporting multiple
sources will append the source name to the
| | 02:39 | end of my filename that I've chosen.
| | 02:40 | We'll see what that means in just a second.
I'll Click OK.
| | 02:44 | Lastly, I have the option of whether
I want to Include any markers or other
| | 02:47 | metadata I've created in the session.
| | 02:48 | I don't really need that in this case.
I'll just uncheck that.
| | 02:52 | Markers and metadata don't really take up that
much space, but I figure why add it if I don't need it.
| | 02:56 | I'm also going to uncheck
Open files after export.
| | 02:59 | With it checked my files would open so
I could play them right away, but I want
| | 03:02 | to manually show them to you first.
All right, so I'm going to Click OK.
| | 03:05 | Now, how long this takes depends on
how long your song is, how many tracks it
| | 03:08 | has and how many files
you have chosen to export.
| | 03:10 | All right, so the export is done.
| | 03:13 | I'm going to hide Audition for a
moment so I can look at my desktop, and I
| | 03:17 | have some files here.
| | 03:19 | Here's Breakdown_Mode_rough stereo, so
that's the stereo mix of the full song.
| | 03:23 | I can just preview this in the Mac by
pressing the spacebar on my keyboard
| | 03:26 | to preview it.
| | 03:29 | (music playing)
That's the whole mix.
| | 03:33 | And I also have the Breakdown_Mode_rough_Bass.
| | 03:36 | Notice it appended the word Bass
because that's the name of the track.
| | 03:38 | And again if I preview that,
just jump ahead a little bit.
| | 03:42 | (music playing)
I'm hearing just a bass track.
| | 03:46 | (music playing)
| | 03:51 | So, really it's very easy to export
that final mixdown or individual tracks.
| | 03:55 | But don't confuse this process with
what you would do if you want to export
| | 03:57 | the entire session so you can continue to edit
it in Audition maybe on a different computer.
| | 04:02 | While you could export all the
individual tracks this way, you would lose your
| | 04:05 | session settings, effects, and so on.
| | 04:07 | In the next movie I'll show you how to
save the session as a backup or for use
| | 04:10 | on another computer running Audition.
| | Collapse this transcript |
| Exporting the session| 00:00 | We've previously gone over the fact
that audio bringing to your Multitrack
| | 00:03 | Session can come from anywhere on your computer.
| | 00:06 | When you drag a file into your files
panel and then into a track of your
| | 00:08 | Multitrack Session or if you drag a
file directly into the Multitrack Session,
| | 00:12 | the actual file stays in its original location.
| | 00:15 | One of the advantages of this is that
you aren't creating multiple copies of a
| | 00:18 | single audio file and you can use the
same file in several different projects
| | 00:21 | without having to have a separate
copy of each file in each project.
| | 00:24 | So, this works fine when you're
primarily working on one computer.
| | 00:27 | What if you need to move your Multitrack
Session to another computer?
| | 00:31 | Maybe you're upgrading your computer or
maybe you need to switch to one that has
| | 00:33 | a specific audio hardware
setup that you need to use.
| | 00:36 | Maybe you're collaborating with someone
else and you want to send the session to
| | 00:39 | them so they can do some work on it.
| | 00:40 | We can't just export the song or
project as a WAV file like we saw in the
| | 00:43 | previous movie by choosing File > Export >
Multitrack Mixdown > Entire Session,
| | 00:49 | because that mixes everything
together into a single file.
| | 00:51 | Now we did see that you can click
Change next to Mixdown options and go through
| | 00:56 | and check all the individual tracks
to export them as individual files.
| | 00:59 | But that would be really
tedious and time consuming.
| | 01:02 | I'm just going to Cancel out of
this, and there's a much easier way.
| | 01:05 | To export your session in a usable
form so it can be open on another computer
| | 01:08 | exactly as you saved it,
choose File > Export > Session.
| | 01:14 | Here, type in a file Name.
You can leave it the same, or you change it.
| | 01:17 | Just so we can differentiate here
I'm going to call this Exported.
| | 01:21 | Choose a Location to save it.
I'll choose the Desktop again.
| | 01:27 | Now for the format you can only save
this as an Audition Session, that's
| | 01:29 | the only selection.
| | 01:31 | And the Sample Type here just
shows you the settings of the session;
| | 01:34 | this is also something you can't change.
| | 01:35 | Now decide whether you want to keep any markers or
other metadata you might have added into the file.
| | 01:39 | Maybe you used markers to indicate
sections that need editing or work.
| | 01:43 | So I'm going to leave that checked.
| | 01:45 | Then make sure you check
Save copies of associated files.
| | 01:47 | This is what ensures that all your
audio tracks, regardless of where they
| | 01:51 | currently are, get stored in a
folder along with the session file, and
| | 01:54 | the session file will be written so that it
knows where those audio files are located.
| | 01:59 | Now we do have an option here to
Convert the files to a different format if we
| | 02:01 | want to do that, but I'm not
going to bother with that right now.
| | 02:03 | I'm going to leave Open
session after saving unchecked.
| | 02:07 | And that's it.
| | 02:08 | Incidentally, this is exactly the
process I used to save a session in order to
| | 02:12 | provide you with the
exercise files for this course.
| | 02:14 | All right, I'll click OK.
| | 02:16 | It's going to take a
couple second to process this.
| | 02:20 | All right, now if I go look at
my Desktop, here's a folder called
| | 02:25 | Breakdown_Mode_exported, which
is what I call it, Copiedfiles.
| | 02:29 | And here's the actual session file.
| | 02:31 | So, these are the two
items that Audition created.
| | 02:34 | And as long as I keep the Session file
and the Save files together in the same
| | 02:38 | relationship--meaning they stay on the
same level in whatever folder or hard
| | 02:41 | drive I move them to--my session will be
usable on any machine running Audition.
| | 02:45 | So, if I were going to ship this off on
a hard drive to someone else, I'd most
| | 02:48 | likely create a New Folder.
Just call this Bdown mode.
| | 02:52 | Now I drag these two items into
that folder so they maintain the same
| | 02:55 | relationship, and then I'd copy this
folder to a hard drive or a CD, whatever
| | 03:00 | method I'd be using to send the files.
| | 03:02 | And when the recipient opens that
file, they can just double-click on the
| | 03:05 | Session file to open it here in Audition,
and all the files and all the tracks
| | 03:10 | and all the effects--basically
everything that I created in my original session--
| | 03:13 | will be reproduced here exactly
in this new version of the session.
| | 03:16 | So, that's how to export a session
from Audition so it will be editable on
| | 03:20 | another computer running Audition.
| | Collapse this transcript |
| Burning the mix to a CD| 00:00 | In addition to exporting audio tracks
as files, Audition CS6 gives you the
| | 00:04 | ability to burn them directly to CDs.
| | 00:07 | So if you want to burn your mix to
listen to in your car or send to a friend,
| | 00:10 | you can do so without having
to use any third-party software.
| | 00:13 | First I should mention that you
can't burn a session directly to a CD.
| | 00:17 | Notice with my session opened here I
can't go to File > Export and choose Burn
| | 00:21 | Audio to CD. It's currently grayed out.
| | 00:22 | And that's because Audition can't
export the mix and burn it all at once.
| | 00:26 | Instead, if I wanted to create an audio
CD of this mix, you would have to first
| | 00:30 | export it as a single file like we
saw how to do a couple movies ago, by
| | 00:33 | choosing File > Export >
Multitrack Mixdown > Entire Session.
| | 00:37 | And here I would want to probably export
this as a WAV file so it's not compressed.
| | 00:42 | Now I'm just going to Cancel that
because I still have the version of that mix
| | 00:45 | sitting here on my Desktop.
| | 00:46 | We call this as Breakdown_Mode_rough_Stereo.
| | 00:51 | So to burn that to a CD from Audition,
I need to drag it in to Audition. And there it is.
| | 00:58 | So I'll expand my window here.
So there's the full mix version of the song.
| | 01:03 | (music playing)
| | 01:07 | Now with this file open, I can choose
File > Export > Burn Audio to CD.
| | 01:13 | Here I can choose which of my
computers optical drives I want to use if I
| | 01:16 | have more than one.
| | 01:17 | I just have the one in this case.
| | 01:19 | Write mode is going to be Write, since
I actually want to burn a real CD and
| | 01:21 | I've just test my settings.
| | 01:23 | I can choose how many copies I want to
burn, and if I choose more than one I'll
| | 01:27 | be prompted to insert more
CDs as Audition burns each one.
| | 01:30 | I can also have it Verify the CD
after burning to make sure it was burned
| | 01:32 | without errors, and I can also
have it Eject to CD when it's done.
| | 01:36 | Now, the kind of CD it's going to be
burning is a regular audio CD like the kind
| | 01:40 | you can buy in record stores.
| | 01:42 | It's not a CD containing an audio
file that you can just drag off and copy
| | 01:45 | to another computer.
| | 01:46 | These are going to be a regular audio CD.
| | 01:48 | That means you can burn up to
78 minutes of audio to each CD.
| | 01:51 | But currently I'm only burning one track.
That might be all I want to do, but you
| | 01:55 | can actually create an audio
CD comprised of multiple tracks.
| | 01:58 | I'm going to Cancel this.
| | 02:00 | Let's say that in addition to putting
this file onto a CD, I also want to add
| | 02:04 | the individual audio files I used for
this song so that each instrument can be
| | 02:07 | heard on its own, maybe for review purposes.
I am going to choose File > New > CD Layout.
| | 02:15 | So I'm now looking at a CD Layout, and
it allows me to drag and drop files or CD
| | 02:19 | track range markers in here.
| | 02:20 | So you can see here's the Layout
sitting here in my Files panel.
| | 02:22 | Now I'm going to go find my
tracks that I want to add to it.
| | 02:25 | Let's start with the MP3 that I had
sitting out on my desktop. That becomes
| | 02:29 | track one, and I'll just quickly
select a couple other tracks here.
| | 02:33 | Now I can't select session tracks here.
Even if I do select that here and drag
| | 02:36 | it in, it's not going to be added.
| | 02:37 | I can only drag individual files
onto a CD, and if I wanted to I could go
| | 02:41 | through here and drag all
the other tracks that I used.
| | 02:43 | I can also come in here and right-click
on tracks and choose Insert into
| | 02:47 | CD Layout, you either create a New CD Layout
from there or just put in to my current one.
| | 02:53 | Now I'll do the same for the left track here.
| | 02:57 | Once I have files in here, I can
drag them around to rearrange them.
| | 02:59 | If I want to make the Bass
the last track I can do that.
| | 03:03 | You can use the Pause Column to determine
how much space to leave between the tracks.
| | 03:06 | For the second drag this down to zero
if I want the track to start immediately
| | 03:09 | after the previous one ends.
| | 03:11 | So you can see here that this track
will end at 11:46:12 and this next one
| | 03:15 | will start at 11:46:12.
| | 03:17 | So the Start and End columns tells
you have far into the entire CD the
| | 03:20 | track appears and ends.
| | 03:21 | If I look in the Properties panel here,
I can see its entire duration and how
| | 03:25 | much space I've used up so far.
| | 03:27 | You can even open the CD Text area if
you want to additional data that will show
| | 03:30 | up in CD players that can display data
like title, artist, composer, and so on.
| | 03:35 | Now once you have everything arranged
as you like, click Burn Audio to CD and
| | 03:38 | we've already seen this window.
| | 03:40 | I'm going to burn this at the fastest
possible speed, but if your CD is of vital
| | 03:44 | importance, you should probably choose
the slowest speed possible just to make
| | 03:47 | sure you get the most accurate burn.
I'm going to just burn one copy.
| | 03:51 | I'm going to Verify the CD after burning,
and I'm going to uncheck Eject the CD
| | 03:54 | when complete, because I actually want
to show you the completed CD in here.
| | 03:57 | So I'll click OK to burn the CD.
| | 04:01 | Okay, so Audition has now successfully
burned the CD, and it tells me it's
| | 04:04 | been verified as well.
| | 04:06 | Click OK, and you can see now iTunes
is actually trying to get my attention.
| | 04:09 | Let me just hide Audition for a moment. Here's iTunes,
and here's my audio CD sitting here in iTunes.
| | 04:15 | You can actually see it sitting here on my
desktop as well with individual audio tracks.
| | 04:22 | But you can see in iTunes it shows up just like
any other audio CD which I can now play...
| | 04:26 | (music playing)
| | 04:31 | And I could even rip to CD to my iTunes
Library now as MP3 if I wanted to.
| | 04:35 | But the point is now I have a regular
audio CD which I can play in any standard
| | 04:39 | CD player, whether it's a
computer or a set-top CD player.
| | 04:42 | So that's how to burn CDs from Audition CS6.
| | Collapse this transcript |
|
|
8. Working with VideoWorking with audio from video| 00:00 | In this chapter, we're going to look at
working with the audio from video projects.
| | 00:04 | Maybe you need to adjust some dialog
in a movie or get rid of an unwanted
| | 00:07 | noise in a video interview, or maybe just want
to add some background music to an existing file.
| | 00:12 | Audition can do all of that and more.
| | 00:14 | Now there are a couple of ways of
getting a movie into Audition, including
| | 00:17 | importing it in from a Premiere Pro
project, which we'll look at how to do
| | 00:20 | a little bit later.
| | 00:21 | For this example, let's take a look at
working with a stand-alone movie file.
| | 00:25 | On my Desktop I have a folder called
Farm Project, and inside it there's a
| | 00:29 | movie called farm_project_intro.mp4.
| | 00:31 | I'm going to drag that
into Audition's Files panel.
| | 00:37 | Now we've seen this before, but just to
review, when you drag a video file into
| | 00:41 | Audition it splits the audio and
video portions of the movie up.
| | 00:44 | Notice we have an MP4 file and the audio file.
| | 00:48 | Now remember Audition has no
video editing capabilities.
| | 00:51 | The only thing the video track is used
for is so you can watch it while you're
| | 00:54 | working on your audio, which is
useful and necessary if you're designing a
| | 00:57 | soundscape to sync up with
what's going on in the video.
| | 01:00 | For example, adding sound effects
or music to key points in the video.
| | 01:03 | Now if I just wanted to edit the audio
I can double-click it, and it opens in
| | 01:07 | the Waveform Editor.
| | 01:08 | And from this point I can start editing
this waveform like any other audio file.
| | 01:12 | But I can't double-click the
video to do anything with it.
| | 01:14 | Again, I'm told that this is
only a video and it can't be edited.
| | 01:17 | Now to view the video, I have to
put it into a Multitrack Session.
| | 01:20 | So if I want to edit my audio while
keeping an eye on the video, I need to
| | 01:24 | switch to the Multitrack Editor.
| | 01:25 | I'll call this Farm Project 01.
| | 01:31 | Keep it saved to the Desktop, I
won't use a template for this.
| | 01:33 | And since I'm working with video, this
will be a 48K sample rate, we'll leave the
| | 01:37 | Bit Depth and the Master the
way they are, and I'll click OK.
| | 01:41 | So now I'm looking at my Multitrack Session.
I'm going to drag the video file onto Track 1.
| | 01:46 | It's not really going to go on to Track 1,
but dragging here tells Audition that
| | 01:50 | I want to create a video track, and
when I release my mouse you can see that it
| | 01:54 | creates a video track above the audio tracks.
| | 01:57 | I could have also gone to the Multitrack
menu to track and chosen Add Video
| | 02:01 | Track from here and then drag my video onto it.
| | 02:04 | Now this option is currently grayed
out because I already have a video track
| | 02:07 | open and you can only have one
video track in your Multitrack Session.
| | 02:10 | All right, I'm going to
drag the audio on to Track 1.
| | 02:14 | Now I probably want to make sure
my Video panel is nice and large.
| | 02:17 | Better yet I can go to the Workspace menu
and switch to the Edit Audio to Video Workspace.
| | 02:23 | Now if I had a Dual Monitor setup, I
would probably drag the Video panel onto my
| | 02:26 | second monitor so I could see the video
at a larger size, but this is fine for my
| | 02:29 | single monitor setup.
| | 02:31 | And I'll go ahead and play a bit of this.
So obviously no audio yet.
| | 02:46 | (male speaker: My name is BD Dautch, and I have
Earthtrine farm, where we've been since 1998.
| | 02:54 | And we've got about 10 acres in Ojai,
and it's all certified organic by CCOF.
| | 03:00 | And we grow about a hundred different herbs,
vegetables, flowers, fruits,
| | 03:07 | and we sell mostly at the farmer's market.)
| | 03:10 | Okay, so you can see that
the audio and video are still
| | 03:12 | perfectly synced up even
though they are on separate tracks.
| | 03:15 | So at this point I'm free to work on this
project like any other Multitrack Session.
| | 03:18 | Maybe I want to add some
compression to this track.
| | 03:21 | Let's go to the Single-Band Compressor,
maybe I will choose the Voice Leveler
| | 03:28 | and let's give that a listen...
| | 03:30 | (male speaker: And also we sell to
caterers, schools, restaurants--)
| | 03:34 | Bump up the output a little bit.
| | 03:36 | (male speaker: We try to keep it all local.)
All right!
| | 03:41 | And since this is the Multitrack file, I can
record or input other audio tracks as well.
| | 03:46 | Now there's a lot of silence here
at the beginning of the session.
| | 03:48 | I have a track with some
ambient sounds I could bring in.
| | 03:52 | Go back out to the Farm Project Folder here,
and there's a file here called background_audio.wav.
| | 03:56 | I'm just going to drag that
right on to Track 2 of my project.
| | 04:01 | Now I'm being told that the Sample
Rate of this file doesn't match the Sample
| | 04:03 | Rate of the session and if I click OK,
Audition will create a copy of that file,
| | 04:08 | which will then be
conformed to match the sample rate.
| | 04:09 | So basically it's just going to convert
the sample rate of this file, which is fine.
| | 04:13 | I'll click OK. So there is my background audio file,
and now let's listen to the beginning...
| | 04:21 | (video playing)
| | 04:34 | (male speaker: My name is BD Dautch--)
| | 04:36 | All right!
So that fills it in a little bit better.
| | 04:38 | Now because of the compression, I'm
hearing a little bit of noise crop up right
| | 04:41 | before the dialog starts.
| | 04:43 | So I'm going to trim the clip a
little before the dialog starts.
| | 04:46 | Again, we can just do that by dragging in,
zooming on that a little bit more, and
| | 04:54 | I am just going to add a
slight fade here at the beginning.
| | 04:57 | Listen to that...
| | 04:59 | (male speaker: My name is BD Dautch--)
Yeah, that works better for me.
| | 05:03 | Now because Audition doesn't edit or export
video, I can't save my movie from here.
| | 05:07 | I can only export the audio.
| | 05:08 | So I'll choose File > Export > Multitrack Mixdown,
and then choose to export the Entire Session.
| | 05:17 | I'll change this to the WAV format
so there's no compression applied.
| | 05:19 | It will be saved to my Desktop, file
Name is Farm Project 01_mixdown.wav.
| | 05:24 | Leave all the other settings
the way they are and click OK.
| | 05:29 | So now on my Desktop I
have the Mixdown WAV file.
| | 05:33 | I can open that with any
application that plays audio.
| | 05:36 | Let's listen to it...
| | 05:38 | (video playing)
| | 05:50 | (male speaker: My name is BD Dautch, and I--)
| | 05:53 | To sync this back with my video,
I have to open that video in my
| | 05:56 | original video editing application--or
any other video editing application for
| | 05:59 | that matter--and then bring this
audio in to replace the original audio.
| | 06:03 | So Audition's role in this was to give
me the freedom and power to do anything I
| | 06:06 | needed to do with the audio
and then export that audio file.
| | 06:10 | I have to turn to another application to
put this new audio into the original video.
| | 06:14 | But as you have now seen, it's really simple to
open and work with the video in Audition.
| | 06:18 | In the upcoming movie, we'll take a look
at how to export a project directly from
| | 06:21 | Adobe Premiere Pro into Audition.
| | Collapse this transcript |
| Importing a sequence from Premiere Pro| 00:00 | Previously, we saw how to drag a movie file
into Audition to work on its audio track.
| | 00:04 | That works fine, but chances are that
more often you will want to make tweaks or
| | 00:08 | edits to audio while you're editing the video.
| | 00:10 | And naturally, there's a decent
amount of integration between Audition and
| | 00:13 | Adobe's Professional video editing application,
Premiere Pro. Let's take a look.
| | 00:17 | In my Farm Project folder I
have a file called Farm Project.prproj,
| | 00:21 | and that's a Premiere Project.
| | 00:24 | I'm going to double-click it
to open it in Premiere Pro.
| | 00:29 | So this is a version of the video we saw in the
previous movie, but here it's a project in Premiere.
| | 00:33 | Notice we have two audio
tracks and one video track.
| | 00:36 | I'll go ahead and play a little bit of this.
| | 00:41 | Notice I have that background
audio I can toggle on and off.
| | 00:45 | (video playing)
| | 00:51 | (male speaker: My name is BD Dautch,
and I have Earthtrine farm--)
| | 00:56 | Now Premiere has a couple of
built-in audio tools, but nowhere
| | 00:59 | near the capability of Audition.
| | 01:00 | So I'd like to work on
this file's audio in Audition.
| | 01:03 | To do so you go to the Edit menu, Edit
in Adobe Audition, and here you can choose
| | 01:08 | to edit just a selected
clip or the entire sequence.
| | 01:11 | I'm going to choose the Sequence.
I'll keep the name Intro.
| | 01:14 | Now for the path, you can determine
where you want to save these files that
| | 01:17 | Premiere is about to export.
| | 01:18 | But notice that it's created this
folder called Adobe Audition Interchange, and
| | 01:22 | that's inside the main Farm Project
folder where I just opened this project and
| | 01:25 | where the project is currently stored.
| | 01:27 | And this is a good save location,
because it keeps all the files in one place.
| | 01:30 | So I'm going to leave that as is.
| | 01:31 | I've already determined that I'm
working with the entire sequence.
| | 01:34 | I'm also going to check Export Preview Video.
| | 01:37 | And this is so I have a video track to
watch while I'm working on the audio.
| | 01:41 | It might not be necessary every time,
but I like being able to see what's on
| | 01:44 | screen during any part of the
audio I'm currently working on.
| | 01:46 | I'm going to keep everything else checked
as well, including Open in Adobe Audition.
| | 01:51 | That way it'll take me to Audition
as soon as the files are rendered.
| | 01:53 | I'll click OK and after a few seconds
or minutes--depending on the size of
| | 01:58 | your project--Audition will open, and
now I'm looking at a multitrack session
| | 02:02 | with a video track.
| | 02:04 | And below the video track are the two
audio tracks that we saw in Premiere.
| | 02:09 | (video playing)
| | 02:17 | Now if I go over to my Files panel, I can
see all the files that it currently opened.
| | 02:20 | I've got the two background tracks--and
actually I had to convert the background
| | 02:24 | track because it was at a different
sample rate than the rest of the files.
| | 02:26 | So it switched it from 44.1 to 48k.
| | 02:29 | This is the main audio for the video.
This is the video itself.
| | 02:32 | And it also has an XML file, and I
will talk about that in just a moment.
| | 02:35 | I'm going to hide Audition and hide
Premiere Pro while I am at it, and let's
| | 02:41 | take a look inside this Project Folder.
| | 02:43 | So here's the Adobe Audition
Interchange Folder it created.
| | 02:46 | Inside that folder is the Intro
folder, it's the name of my project, and
| | 02:50 | inside this folder are the two
WAV files, background_audio, and
| | 02:54 | farm_project_intro Extracted.
| | 02:56 | Here's the movie file.
| | 02:57 | This Conformed files folders is the
converted version of the background
| | 03:00 | audio that it created.
| | 03:02 | And there is also an XML file, and this
is what it uses to manage this project.
| | 03:07 | Now incidentally, if you didn't choose
to open Audition immediately after
| | 03:09 | exporting the content from Premiere--
for example, let me go back into Audition.
| | 03:13 | I'm just going to select all of these
items in the Files panel and close them.
| | 03:16 | So now I have nothing opened on Audition,
but I can choose File > Import > file
| | 03:23 | and locate that XML file,
right there.
| | 03:27 | And if I open this XML file that
Premiere generated, you can see again that opens
| | 03:31 | all the related files for me to work on.
| | 03:33 | Now it's also important to note here
that these files are completely separate
| | 03:36 | from the versions that are still
currently opened in Premiere Pro.
| | 03:39 | So you can work freely with these audio
files and try all kind of crazy things
| | 03:42 | to them without the fear of
messing up your Premiere project.
| | 03:45 | And if you really mess things up here
you can always just export another version
| | 03:48 | from Premiere and start again from scratch.
| | 03:50 | So that's how easy is to import
a Premiere project into Audition.
| | 03:53 | In the next couple of movies we'll
add a little bit more to this project in
| | 03:56 | Audition, and then I'll show you
how to get it all back into Premiere.
| | Collapse this transcript |
| Adding a soundtrack to a video| 00:00 | So previously, I showed you how to get
a project you're working on in Adobe
| | 00:04 | Premiere into Adobe Audition.
| | 00:07 | And again, once you're in Audition
you're free to work on these audio clips just
| | 00:09 | like in any other project, and
because these are separate entities you can
| | 00:13 | experiment and play around all you want.
| | 00:15 | But for this example I'm just going to
add a simple music file to add a bit of
| | 00:18 | mood to this project.
| | 00:20 | On my desktop in the Farm Project
folder is a file called Silent Charm.wav.
| | 00:24 | I'm going to drag that into
track 3 of my Audition project.
| | 00:29 | Now again I'm getting this message
telling me that the audio file doesn't match
| | 00:32 | the sample rate of the session, and by
clicking OK Audition is going to make a
| | 00:35 | copy of the file which will
match to the session sample rate.
| | 00:38 | And I do want it to do that so everything
matches up. So I'll click OK.
| | 00:41 | It just takes a second to do the conversion,
and there's my new audio track.
| | 00:46 | So while the first two audio tracks
were imported from my Premiere project, I've
| | 00:50 | now added a completely
new track here on Audition.
| | 00:52 | Now I could have done this in
Premiere as well, but Audition gives me much
| | 00:56 | better control over my mix and overall sound.
| | 00:58 | So I prefer to handle as much of
the project's audio here as possible.
| | 01:01 | Let's give this a listen from the beginning.
| | 01:04 | (video playing)
| | 01:21 | Okay, so that definitely colors
the mood of this project.
| | 01:24 | Now there are a couple of
tweaks I need to make here.
| | 01:26 | First, I think the music starts a little too
abruptly with those strings coming in.
| | 01:30 | Let's give that a listen again.
(video playing)
| | 01:34 | That's a matter of taste,
but I think I am going to zoom in
| | 01:37 | towards the beginning here so I
can see it a little bit better.
| | 01:39 | I'm just going to add a slight
fade at the beginning, like so.
| | 01:43 | Let's hear how that sounds.
| | 01:47 | That way they just fade in a little
bit, and I like that a little better.
| | 01:51 | Now also I need the music to go a way
down in volume when the speaking starts,
| | 01:54 | and if you recall, this is very easy to do.
| | 01:56 | I can either use the yellow Volume
Envelop lined on the clip itself, or I can
| | 02:00 | use the Track Envelope.
| | 02:03 | Again, we saw how to do
this in the previous chapter.
| | 02:05 | I'm just going to use the
Clip Envelop in this case.
| | 02:07 | So I'm going to narrow these down a
little bit, so I can see all of my tracks.
| | 02:12 | I can see the speaking starts right about here.
| | 02:16 | So I'll just click to add a keyframe
on the music right before that, and then
| | 02:20 | I'll add another one and drag it down
to reduce the level of the audio, and I
| | 02:24 | need this come down fairly significantly.
| | 02:27 | And we'll just start it just a little sooner
than that so I can bump this over a bit.
| | 02:32 | Now let's give that a listen.
(video playing)
| | 02:37 | (male speaker: My name is BD Dautch, and I--)
| | 02:40 | All right, so that's much better.
Now you can hear the speaking over the music.
| | 02:44 | (male speaker: --have Earthtrine farm,
where we've been since 1998.)
| | 02:48 | Now I'll probably play a little
bit with how gradually or
| | 02:50 | abruptly the music goes
down, but you get the idea.
| | 02:53 | Now this music track also goes on much longer than
the rest of the audio and the rest of the clip.
| | 02:57 | So I'm just going to zoom out of my
navigator, so I can see the end of that clip
| | 03:01 | and I'll just drag its right end in, and
because I have Snapping turned on, it'll
| | 03:05 | snap to the end of the other clips.
| | 03:08 | Zoom in on that end again, and I'll
probably want to add a fade here as well so
| | 03:12 | it just doesn't end abruptly.
| | 03:14 | Something like that.
| | 03:16 | (male speaker: We try not to do any shipping.
We try to keep it all local.)
| | 03:22 | And of course, I can play with that a bit.
| | 03:23 | If I think that's too abrupt,
I can just fade that out a little bit longer.
| | 03:28 | (male speaker: --restaurants. We try not to do
any shipping. We try to keep it all local.)
| | 03:35 | Okay, that works for me.
| | 03:37 | All right, so we got to review several concepts
we've covered throughout this course here,
| | 03:39 | and now I have a nice soundtrack on my movie.
| | 03:42 | Coming up next, we'll see how to
get this project back into Premiere.
| | Collapse this transcript |
| Exporting a session back to Premiere Pro| 00:00 | Okay, so I still have my Farm Project open
in Audition, and again, I originally
| | 00:04 | exported this from Adobe Premiere.
| | 00:06 | I'm just going to quit Premiere for
now, and in Audition I've added a music
| | 00:10 | track and made a couple of
other tweaks to my project.
| | 00:13 | So let's say I'm happy with what I've
done in Audition and I want to get back to
| | 00:16 | editing the video in Premiere.
| | 00:18 | Now in the first movie of this chapter
I showed you how to open a single movie
| | 00:21 | file sitting anywhere on your computer and how you
could edit or add to the audio track of the movie.
| | 00:25 | But you could only then export that
audio track as a single file and you
| | 00:28 | would have to then join that new
audio track to the original video since
| | 00:32 | audition can't export video.
| | 00:33 | But since I started working on this
project in Premiere, you better believe I
| | 00:37 | want to be able to move smoothly back
into Premiere without having to export
| | 00:40 | just a single audio file, because who
knows? I may want to able to make some
| | 00:44 | additional tweaks to the
individual audio tracks in Premiere.
| | 00:47 | Also, remember when I exported the
project from Premiere it generated copies of
| | 00:50 | the video and audio files.
| | 00:52 | So no matter what I've done in Audition,
my Premiere project is still exactly
| | 00:55 | the way it was before I
started working on it in Audition.
| | 00:57 | So what I need to do is to get this new version
of the audio tracks back into Premiere.
| | 01:02 | We do this by going to the Multitrack
menu and choosing Export to Adobe Premiere.
| | 01:06 | Now notice that it's going
to be generating an XML file.
| | 01:10 | Again, this is how Audition and Premiere
manage the files they exchange between themselves.
| | 01:14 | I'm going to leave that file name, and
I'm also going to leave the location.
| | 01:16 | It's again using the Adobe Audition
Interchange folder it previously generated,
| | 01:21 | and it's good to keep everything in one place.
I'll leave the current sample rate.
| | 01:25 | Under Options you can choose
to Export each track as a stem.
| | 01:28 | That means each separate track will
be exported as its own separate file.
| | 01:32 | You will want to do this if you want
to maintain the ability to edit the
| | 01:34 | tracks individually in Premiere, but
if you have already created a final mix
| | 01:38 | of the audio that you're happy with
and you don't plan on changing any of the
| | 01:40 | audio in Premiere, you can choose to mix down
the session to a Mono, Stereo, or 5.1 surround file.
| | 01:47 | If I had created any busses, I could
also export each bus as a stem which might
| | 01:51 | be useful if you have a lot of tracks and many of
them are routed through busses that you're happy with.
| | 01:55 | I'll leave Export each track as a stem
selected since I only have three audio
| | 01:59 | tracks and I may want to tweak them in Premiere.
| | 02:01 | I am also going to keep Open in Adobe
Premiere selected so Premiere opens right
| | 02:04 | away and now I'll click Export
so it's generating the files.
| | 02:09 | It's opening Premiere.
| | 02:12 | Now because I click Premiere, it's
asking me to locate the project I want to
| | 02:15 | import the Audition tracks into.
| | 02:16 | So again in this project, they are on
my Desktop, they're in Farm Project, and
| | 02:20 | there's the Adobe Premiere project file.
It's importing the files.
| | 02:25 | Now Premiere is giving me the option
of copying the Adobe Audition tracks to
| | 02:28 | their own new tracks or to
replace the existing tracks.
| | 02:31 | So I can choose to copy them to any of
the existing tracks or to New Audio Tracks.
| | 02:35 | I'm going to choose New Audio Track
and click OK, and if I scroll down here,
| | 02:39 | those are the three new tracks in Audition.
| | 02:41 | Now I'm going to go ahead and
mute the original two tracks.
| | 02:47 | (video playing)
| | 02:59 | (male speaker: My name is BD Dautch, and I have
Earthtrine farm, where we've been since 1998.
| | 03:06 | And we've got about 10 acres in Ojai,
and it's all certified organic by CCOF.
| | 03:13 | And we grow about a hundred different
herbs, vegetables, flowers, fruits,
| | 03:20 | and we sell mostly at the farmer's market.
And also we sell to caterers, schools, restaurants.
| | 03:27 | We try not to do any shipping.
We try to keep it all local.)
| | Collapse this transcript |
| Using Automatic Speech Alignment| 00:00 | In my exercise files folder I have a
folder called Speech Alignment, and in there
| | 00:04 | is a movie called iphone_intro.mp4.
| | 00:07 | This is a clip from my iPhone Essential
Training course, which incidentally you
| | 00:10 | can find on the lynda.com
Online Training Library.
| | 00:13 | Let's listen.
| | 00:15 | (male speaker: Hello and welcome to
iPhone and iPod Touch Essential Training.
| | 00:18 | I'm Garrick Chow. The iPhone is one of the most
popular, powerful, and easy to use smartphones
| | 00:23 | on the market today. And the iPod Touch is basically
an iPhone without the phone, running the same
| | 00:29 | operating system and apps. In this course,
we're gonna take a detailed look at all
| | 00:33 | the most important features of both of these devices.)
| | 00:35 | Okay, so the audio here is pretty
bad and pretty much unusable.
| | 00:39 | Now although we've seen that Audition
has some great clean-up tools, sometimes
| | 00:42 | you are most likely going to be
better off re-recording dialog that was
| | 00:45 | either recorded poorly or that might have
been ruined by unwanted or unremovable sounds.
| | 00:50 | In this case, my voice is kind of echoey, plus
there's sort of this hum going on throughout the clip.
| | 00:54 | I've already dragged this movie into Audition
and placed it into a multitrack session.
| | 00:59 | If you're following along with me, this
is just a regular multitrack session.
| | 01:02 | I saved it at 48 K and 32-bit, and I've dragged
the video and the audio file into their own tracks.
| | 01:09 | (male speaker: Hello and welcome to
iPhone and iPod Touch Essential Training.)
| | 01:13 | And I've already re-recorded my
dialog in a studio environment
| | 01:16 | and saved it as a WAV file.
| | 01:19 | It's called garrick_ADR, I'm going to
drag that into my Files panel, and here
| | 01:25 | I'll drag it on to track 2.
| | 01:26 | I'm going to let Audition convert the
sample right so it matches the session.
| | 01:32 | Now we have garrick_ADR on track 2.
| | 01:34 | ADR stands for either Automatic
Dialog Replacement or Additional Dialog
| | 01:38 | Recording, depending on whom you ask,
but basically it refers to the process of
| | 01:42 | having usually actors go into a studio
after they've shot their scenes--maybe in
| | 01:46 | a noisy outdoor setting--and having them
re-record dialog in a controlled studio
| | 01:51 | environment where the recording engineer can then
replace the original audio with a new clean audio.
| | 01:55 | So I'm going to mute this original
iPhone_intro audio track and play my new
| | 01:59 | voiceover, and let me just expand the video panel
here, make it a little bit easier to see.
| | 02:04 | I'm going to make that as big as I can here.
| | 02:08 | So let's play this and
see how well they match up.
| | 02:12 | (male speaker: Hello and welcome to
iPhone and iPod Touch Essential Training.
| | 02:15 | I'm Garrick Chow. The iPhone is one of the most
popular, powerful, and easy to use smartphones
| | 02:20 | on the market today. And the iPod Touch is basically
an iPhone without the phone, running the same
| | 02:25 | operating system and apps. In this course,
we're gonna take a detailed look at all
| | 02:29 | the most important features of both of these devices.)
| | 02:31 | So that's actually not too bad.
| | 02:33 | It's a little out of sync at the beginning,
and it gets out of sync at the end here too.
| | 02:37 | Let's watch this again.
| | 02:39 | (male speaker: In this course, we're gonna
take a detailed look at all the--)
| | 02:43 | So it's definitely out
of sync there when I say in this course.
| | 02:46 | And when I say out of sync, I mean the
audio is not synching up with the shapes
| | 02:49 | my lips are making in the video.
| | 02:50 | Now for these situations, Audition CS6
has a brand-new feature called Automatic
| | 02:55 | Speech Alignment, and what that does is
compare the original audio to a clip of
| | 02:58 | re-recorded audio and then analyzes
them and tries to make the waveforms of the
| | 03:02 | re-recorded audio match up to the
positioning of the waveforms of the original.
| | 03:06 | And it works pretty well.
| | 03:07 | Prior to this, getting audio to fit
required all kinds of filters and effects to
| | 03:11 | stretch and compress the audio manually.
| | 03:13 | You can still do these things, but
it's probably a big time saver to try the
| | 03:16 | Automatic Speech Alignment feature first.
| | 03:18 | To use it, first select the two clips
in, the original and the replacement
| | 03:22 | audio, and it has to be just two clips.
| | 03:24 | If you have a track with more than one
clip on it you'll have to first merge
| | 03:27 | those clips together into a single clip using
the waveform editor before you can use this feature.
| | 03:32 | Also, this feature works best on clips that
are longer than about 10 to 15 seconds.
| | 03:36 | Short clips usually don't have enough
content for the process to effectively work.
| | 03:39 | So I'm going to select the two clips by
dragging through them with my Move tool.
| | 03:44 | Now I'm going to choose Clip >
Automatic Speech Alignment.
| | 03:48 | At the top you want to choose
which one is your reference clip.
| | 03:51 | Basically, you're picking the clip of
the original audio that Audition can use
| | 03:54 | as a reference to adjust the replacement clip.
| | 03:56 | So I'm going to make sure
iPhone_intro audio is selected.
| | 03:59 | If it's a Stereo file, you can choose whether
to use the Right or the Left channel.
| | 04:04 | My clip is stereo, but Left and Right
are pretty much equally balanced, so it
| | 04:07 | really doesn't matter which one I select here.
| | 04:10 | If you have a file where the dialog is
primarily on the left or right, you'll
| | 04:13 | want to pick the appropriate one.
| | 04:15 | That leaves the replacement
clip as the Unaligned Clip.
| | 04:18 | Again, you can choose the Left or Right
channel if the dialog is more prevalent
| | 04:21 | on one or the other.
| | 04:23 | Next, you want to choose how the
alignment is going to be applied.
| | 04:26 | Balanced alignment and stretching
is probably a good place to start.
| | 04:28 | If things don't sound quite right, you
can always undo and come back in here to
| | 04:31 | choose either the Tightest
Alignment or Smoothest Stretching.
| | 04:35 | A Tighter Alignment will have the
best looking sync, but the audio might
| | 04:38 | sound more unnatural.
| | 04:40 | Smooth Stretching usually sounds a little
more natural, but might not be as in sync.
| | 04:43 | So I usually start with
the balance between the two.
| | 04:47 | If one of the reasons you're
replacing the dialog is because the clip has
| | 04:49 | background noise, check Reference clip is noisy.
| | 04:52 | That's true in this example so I'm
going to make sure that's selected.
| | 04:55 | I'm also going to make sure that Add
aligned clip to new track is checked.
| | 04:58 | So Audition will place the newly
generated clip onto its own track.
| | 05:02 | Let's click OK.
| | 05:05 | It takes a few seconds, and I can see here I
have a new track, garrick_ADR 48K aligned.
| | 05:13 | So I'll place the word Align here so I can
easily tell which one is the aligned track.
| | 05:17 | And even just looking at the waveform
you can kind of see that it's a little
| | 05:20 | more aligned to the
original than my raw replacement.
| | 05:22 | Notice the clip blanks are
identical, but let's see how it sounds.
| | 05:26 | I'm going to solo that track
and play from the beginning.
| | 05:30 | (male speaker: Hello and welcome to
iPhone and iPod Touch Essential Training.
| | 05:34 | I'm Garrick Chow. The iPhone is one of the most
popular, powerful, and easy to use smartphones
| | 05:38 | on the market today. And the iPod Touch is basically
an iPhone without the phone, running the same
| | 05:44 | operating system and apps. In this course,
we're gonna take a detailed look at all
| | 05:48 | the most important features of both of these devices.)
| | 05:51 | So that's actually not too bad,
and notice how much better the
| | 05:54 | "in this course" phrase syncs
up with what's on the screen.
| | 05:59 | (male speaker: In this course,
we're gonna take a detailed look--)
| | 06:01 | And because this is in
its own clip on its own track, you're
| | 06:04 | free to chop out the pieces that might
not sound as good and replace them with
| | 06:07 | parts of another re-recorded attempt
or edit them anyway else you'd like.
| | 06:11 | But if you have to replace dialog, I
think you'll find that the Automatic Speech
| | 06:14 | Alignment feature is pretty useful.
| | 06:15 | It can also be kind of fun if you find
the kind of things that I find fun to be
| | 06:19 | fun, to replace dialog with
a completely different voice.
| | 06:24 | I have another audio file in here you might
want to play around with called garrick_female.
| | 06:27 | I'll drag that into my Files panel. I'll make
that a little bigger so we can see it.
| | 06:32 | I'll drag that into its own track,
track 3, convert it, and I'm just going to
| | 06:39 | drag that under the original one here
so they're lined up a little bit better.
| | 06:43 | Just go ahead and select the original
audio track in this new garrick_female
| | 06:47 | track, and I'll run the
Automatic Speech alignment again.
| | 06:50 | Leave everything the way it is.
So here's the newly-aligned track again.
| | 06:55 | I'll solo that one up and we'll see how it did.
| | 06:58 | (female speaker: Hello and welcome to
iPhone and iPod Touch Essential Training.
| | 07:03 | I'm Garrick Chow. The iPhone is one of the most
popular, powerful, and easy to use smartphones
| | 07:08 | on the market today. And the iPod Touch is basically
an iPhone without the phone, running the same
| | 07:13 | operating system and apps. In this course,
we're gonna take a detailed look at all
| | 07:17 | the most important features of both of these devices.)
| | 07:20 | Okay, so there you have the
Automatic Speech Alignment command which
| | 07:23 | is a great tool to help you
replace dialog in your video clips.
| | 07:26 | And once you have an aligned clip
you're happy with, you can just solo it up,
| | 07:29 | choose File > Export > Multitrack Mixdown >
Entire session and then export the
| | 07:34 | audio files so you can import it
into your video editing applications.
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9. Surround MixingUnderstanding the interface| 00:00 | In this chapter, I'd like to briefly touch on
Audition's Surround Sound Mixing capabilities.
| | 00:05 | We've talked mostly about how to work
with mono and stereo mixes, but Audition
| | 00:08 | lets you mix for 5.1 surround sound as
well, meaning for a set up that includes
| | 00:12 | a Center Channel, Front Left and Front
Right Channels, Rear Left and Rear Right
| | 00:16 | Channels, and the Subwoofer.
| | 00:18 | So in order to properly monitor and
mix like this, you really have to have a
| | 00:21 | Surround Sound set-up
connected to your computer.
| | 00:23 | I can't really give you the full
effect here since we can only present
| | 00:26 | these training movies in stereo, but I do
want to give you a basic rundown of the tools.
| | 00:29 | So let's start by creating a Multitrack Session,
and I'll just call this Surround Test.
| | 00:35 | I'll save it to my Desktop.
| | 00:37 | Let's make this 44.1, 32-bit, and for the Master Output
I'm going to choose 5.1 for a Surround Sound mix.
| | 00:44 | I'll click OK, and that gives me a
familiar looking Multitrack Interface.
| | 00:50 | As usual, I have the default 6
tracks and a Master Track, but notice that
| | 00:55 | instead of the Pan knob in the Track
controls, we have this little interface,
| | 00:58 | and it's available for each track.
| | 01:00 | This is the Track Panner.
| | 01:02 | Because we're not working in the simple
left and right channels of a stereo mix,
| | 01:06 | but instead working with 5 channels and a subwoofer,
we need a more specialized interface like this.
| | 01:10 | You'll see the same thing if you switch
over to the mixer panel, and here you'll
| | 01:14 | see the Track Panner for each track here too.
| | 01:16 | So let's get a couple of
audio files in here to play with.
| | 01:20 | Inside my Chapter 9 Exercise Files
folder, I have 3 tracks from the song
| | 01:25 | Breakdown Mode, which we used in
the chapter on Multitrack Mixing.
| | 01:28 | I just grabbed 3 of the
files here for this exercise.
| | 01:30 | Now I'm not going to be doing
a complete surround mix here.
| | 01:33 | I just want some files in
Audition to show you the tools.
| | 01:35 | So I'm just going to grab all three of
these and drag them into my Files panel.
| | 01:42 | I'll switch back to the Multitrack
Editor, and here I will just hold down Shift
| | 01:45 | and select all three of those files,
drag them onto a track, and that will
| | 01:49 | distribute them across the
three different tracks here.
| | 01:52 | Okay, so by default each track is in
the same position in the mix, which is
| | 01:56 | balanced in the front center, basically,
a stereo mix with the left and right
| | 01:59 | channels emitting an equal level of audio.
Let's work with the guitar track.
| | 02:03 | I'm going to solo that up, and now I'm
going to double-click the Track Panner.
| | 02:07 | That opens up the Track Panner
window for this particular track.
| | 02:10 | Notice how it says Track 2.
| | 02:12 | So any changes I make here are only
affecting Track 2 with the guitar track.
| | 02:15 | And what we see here is a Surround
Sound plot that displays how the audio is
| | 02:20 | being distributed
through the different channels.
| | 02:22 | So again by default, this is just a stereo mix with
sound coming only from the left and right channels.
| | 02:27 | And both channels are emitting the
same level of audio at this point.
| | 02:30 | Now it's hard to see at the moment,
but these white lines indicate the
| | 02:33 | strength of the audio coming out of
each audio channel, and you can see
| | 02:36 | they're both the same length.
| | 02:37 | They're kind of hard to see because
they're currently covered with these
| | 02:40 | green and blue overlays.
Those are the Angle Indicators.
| | 02:43 | They show you where the
sound appears to originate from.
| | 02:46 | The immersive sound of Surround Sound
is created when certain sounds are played
| | 02:49 | at a higher level from certain speakers
and a lower level from other speakers.
| | 02:53 | Playing with these levels can create
the illusion that the sounds are coming
| | 02:56 | from different locations in a room.
| | 02:58 | So if, for example, I drag the angle
dial down here to the right slightly,
| | 03:01 | notice the white lines immediately
start coming out of the center channel as
| | 03:04 | well as the right rear channel.
| | 03:07 | Notice the right channel has actually
gotten longer to indicate more sound is
| | 03:10 | coming out of it now.
| | 03:12 | The more I drag to the right, the
more the right speakers emit and the less
| | 03:15 | the left speakers do.
| | 03:18 | Notice if I drag far enough, we start to get
sound coming out of the left rear speaker.
| | 03:23 | Now tied into this is the stereo spread dial.
| | 03:26 | This determines the separation
between stereo audio tracks.
| | 03:29 | Adjusting this dial increases or
decreases the apparent distance between the
| | 03:33 | right and left channels,
and 30 degrees is the default.
| | 03:37 | Now instead of dragging dials around,
you can just drag the center dot around
| | 03:42 | the plot, and not just around the
surround plot, but inwards and outwards.
| | 03:47 | This is controlling the radius slider below.
| | 03:51 | Notice that dragging inward increases
the levels coming from the rear speakers
| | 03:54 | and decreases the levels coming from the front.
| | 03:57 | The closer you get to the outside edges
of the surround plot, the more the sound
| | 04:00 | is going to sound like it's
coming from specific speakers.
| | 04:03 | The more you drag inwards, the
less distinct the sound will be.
| | 04:05 | If you drag the radius to the very
center or 0 percent, it's going to sound like
| | 04:09 | the audio is coming equally from all speakers.
| | 04:11 | Now you won't be able to get the full
effect, but if you have headphones on or a
| | 04:15 | decent set of speakers with enough
distance between them, you should be able to
| | 04:18 | hear the changes if I play the
track and drag the dot around.
| | 04:23 | (audio playing)
| | 04:47 | I actually muted it there by
dragging everything to the center.
| | 04:50 | (audio playing)
| | 04:52 | Now we have two more
sliders down here, the center slider
| | 04:55 | determines the percentage of the
center channel's level relative to the left
| | 04:58 | and right level.
| | 05:01 | Actually, I need to drag
this in so you can see it.
| | 05:05 | Notice that as I drag the center slider to the
left, that decreases the sound of the center slider.
| | 05:09 | You can see the white line receding
there, and it also increases the left and
| | 05:12 | right channels a little bit.
| | 05:15 | And the LFE slider is the level of
the signal sent to your subwoofer.
| | 05:19 | The subwoofer signals are non-directional,
so the Surround Sound plot doesn't include it.
| | 05:23 | You just use the sliders to determine
how much of this particular track you want
| | 05:26 | to play through the subwoofer.
| | 05:27 | You can also click LFE only, if you're
working on a track that's only going to
| | 05:31 | play exclusively to the subwoofer
and none of the other 5 channels.
| | 05:34 | Notice that it mutes the
rest of the surround tracks.
| | 05:36 | And, by the way, you can also disable specific
channels completely by clicking them here.
| | 05:40 | So if I wanted to disable the rear speakers
for a particular sound, I can just do that.
| | 05:46 | So that's a very basic rundown of how
the Track Panner works, and remember that
| | 05:49 | what we're seeing here
applies only to the selected track.
| | 05:52 | Each track can have its own setting.
| | 05:54 | You can also use the tiny Track Panner in
each track to move your surround image around.
| | 05:58 | But you can only move it if the large
Track Panner window is closed, but it's
| | 06:02 | difficult to be precise with this tool,
and you have a much easier time using
| | 06:05 | the Track Panner window.
| | 06:07 | The small Track Panner is better used
as a visual indicator of where the track
| | 06:11 | lies in the mix, and if you need to
make an adjustment, you can double-click it
| | 06:14 | to open the full size Track Panner.
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| Using pan envelopes| 00:00 | As we discussed in the previous chapter,
sometimes you want your mixes to be dynamic.
| | 00:04 | Just because the track starts out
panned to the left, doesn't mean you don't
| | 00:07 | want it to travel to the right at some
point during playback, or maybe you want
| | 00:10 | the volume level to change its specific points.
| | 00:13 | If you watched the earlier movies on
using Automation, you saw that it's easy
| | 00:16 | to accomplish time-based moves like this with
the volume and pan envelopes on each clip or track.
| | 00:21 | And again on the clips, these are
represented by the horizontal lines
| | 00:24 | running across the clips.
| | 00:26 | When you're working in a surround mix,
you get additional pan envelopes to work
| | 00:29 | with, since you're not just
working with left and right channels.
| | 00:32 | To automate surround panning, toggle
the arrow on the track you want to adjust,
| | 00:35 | so we can see the Show Envelope menu.
| | 00:38 | And because I'm working on the surround
mix, I have 5 different Pan Properties I
| | 00:41 | can adjust simultaneously.
| | 00:42 | Just select the ones you
want to have Pan Envelopes for.
| | 00:45 | We've got Pan Angle, Radius, Center, LFE,
which again is the subwoofer channel,
| | 00:50 | and the Stereo Spread.
Let us select Angle for this example.
| | 00:54 | Again, the Angle determines where in
the surround field the sound appears
| | 00:57 | to originate from.
| | 00:58 | That places this blue line here for me,
you can see its pan angle, and it works
| | 01:03 | the same way we saw the regular
volume and pan envelopes work.
| | 01:05 | You just drag the line up or down to
affect the entire track, or you can click
| | 01:12 | to Add keyframes and drag them up and down.
| | 01:17 | I'll do a couple of extreme examples
here so you can see what's going on.
| | 01:21 | And if I play this now, you'll see the
Track Panner over here move on its own
| | 01:26 | following the keyframes that I put down.
| | 01:28 | (audio playing)
| | 01:35 | And you should be able
to hear the difference too.
| | 01:40 | You can see the little indicator here
moving as well...
| | 01:43 | (audio playing)
| | 01:51 | So it's very easy to automate these Pan moves.
| | 01:54 | I'm going to go ahead and clear
those keyframes, and as with the other
| | 01:57 | envelopes, you can go to Right, Left, or
Touch mode to have Audition record your
| | 02:01 | moves as the track plays.
| | 02:03 | So for instance, if I switch
to Right and I play my track.
| | 02:07 | (audio playing)
It started adjusting the angle here.
| | 02:15 | (audio playing)
| | 02:18 | I'll stop, and you can see
that it's written all those
| | 02:20 | keyframes into that section.
| | 02:24 | (audio playing)
| | 02:35 | So working with Pan Envelopes
in a Surround setting is the same
| | 02:38 | as working with the Volume and Pan
Envelopes in a Stereo mix, you just have more
| | 02:42 | directions you can move in here.
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| Exporting a multichannel mix| 00:00 | When you're ready to export your
surround project, the process is the same as
| | 00:03 | exporting a regular stereo file.
| | 00:05 | Just choose File > Export >
Multitrack Mixdown > Entire Session.
| | 00:11 | After naming your file and choosing
a location to save it, you choose your format.
| | 00:15 | Again, if you want an uncompressed file,
choose Wave, and it should automatically
| | 00:20 | default to exporting a single 5.1 surround file.
| | 00:23 | But again, you can click Change here
and choose the Export Stereo or Mono
| | 00:27 | versions of the tracks as well, and
of course, you can also export the
| | 00:29 | individual tracks and
surround as well if you need to.
| | 00:33 | So exporting a surround file isn't really
different than exporting any other file.
| | 00:36 | Just make your selections in here and click OK.
| | 00:40 | And once your file has been exported, it should
play through any 5.1 Surround Sound System.
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ConclusionNext steps| 00:00 | Congratulations on
reaching the end of the course!
| | 00:02 | By now, I hope you're feeling
comfortable enough with Audition to begin or
| | 00:06 | continue work on your own
audio production projects.
| | 00:09 | Now I want to stress that much of this
course was dedicated to familiarizing you
| | 00:12 | with Audition's tools and capabilities,
but I'm sure you understand that
| | 00:15 | becoming a good audio engineer requires
a lot more than just learning the tools.
| | 00:20 | lynda.com has a continuously expanding
series of audio courses aimed to helping
| | 00:24 | you acquire the theoretical and
technical knowledge you'll need to work with
| | 00:27 | just about any audio editing application.
| | 00:30 | If you like to learn more about the
concepts we touched on throughout this
| | 00:32 | course, I recommend you watch the
courses Audio Mixing Boot Camp as well as the
| | 00:37 | titles in the Foundations of Audio Series like:
| | 00:39 | Compression and Dynamic Processing,
EQ and Filters, and Delay and Modulation.
| | 00:46 | So I hope you have enjoyed this
tour through Adobe Audition CS6.
| | 00:49 | I'm Garrick Chow, see you next time.
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