Transcript
Audio Editing
Additional Reference Document Session 1 – Introduction to Adobe Audition 1.1.3 Technical Terms Used in Audio Different applications use different sample rates. Following are the list of sample rates used for Adobe Audition:
32,000 (32kHz): This sample rate is used for digital broadcast and satellite transmissions. 44,100 (44.1kHz): This sample rate is used for CDs and other such consumer digital audio. 48,000 (48kHz): Thsi sample rate is used for broadcasting video. 88,200 (88.2kHz): This sample rate is the standard format for high-definition music that can be downloaded and was converted from a DSD master, but is rarely used. 96,000 (96kHz): This sample rate is sometimes used in DVDs and other highend audio recording processes. 176,400 and 192,000 (176.4 and 192kHz): This sample rate is not very acceptable as generates much larger files and stress your computer more, yet offer no significant audio advantage.
Session 3 – Working with Multitrack Editor and Recording Audio 3.1.4 Using Track Controls
Understanding Bus tracks
Using bus tracks, users can work on audio tracks collectively. They can combine the output of several audio tracks or send and control all the tracks together. For example, a single bus track can be used to control the volume of multiple drum tracks with a single fader.
Bus tracks comprise all features of an audio track; however, they lack hardware input. It is possible to apply effects, equalization, and automate changes over time. For most mixes, users output buses to hardware ports or the Master track. If required, buses can be combined and routed to other buses.
Understanding the Master track By default, every session contains a master track. With a single master track it is possible to combine the output of multiple tracks and buses and control them with a single fader. The Master track exists at the very end of the signal path. This helps in offering fewer routing options as compared to audio and bus tracks. The Master track can only route directly to hardware ports.
Session 4 – Working with Audio Effects 4.5.4 Parametric Equalizer Effect
Master Gain: This option is used for balancing the overall volume level, wherein the audio is low or high after the EQ settings are adjusted.
Graph: X-axis represents the frequency, whereas the y-axis displays the amplitude. These frequencies are placed evenly on the graph by octaves and range ascending in a logarithmic fashion.
Frequency: This option specifies the center frequency for bands ranging from 1-5 as well as for the band-pass and shelving filters.
Gain: This option manages the boost or attenuation for frequency bands, and the per-octave slope of the band-pass filters.
Q / Width: This option manages the width of the affected frequency band, where Low Q values affect a larger range of frequencies, and Q values affect a narrow band. These values work best for notch filters for removing particular frequencies, like 60 Hz hum.
Band: This option controls the equalization curve by managing five intermediate bonds, along with high-pass, low-pass, and shelving filters. Click the band button to activate the settings. The low and high shelving filters provide slope buttons that set the low and high shelves by 12 dB per octave, rather than the default 6 dB per octave.
Constant Q and Constant Width: This option sets the frequency bandwidth, either as a Q value or an absolute width value, mentioned in terms of Hz. However, Constant Q is commonly opted for.
Ultra-Quiet: This option works well for high-end headphones and monitoring systems. Though, it eliminates noise and artifacts, its processing takes a longer time.
Range: It sets the graph to a 30 dB range for delivering precise adjustments, or a setting of 96 dB delivers extreme adjustments.
4.6.1 Chorus Effect
Voice: This option determines the number of simulated voices.
Delay Time: This option specifies the maximum amount of delay allowable. It introduces short delays in the range of 15-35 milliseconds and vary in duration over time. In case of smaller settings, all the voices start merging into the original, and an unnatural flanging effect occurs. In case of higher settings, a warbled effect occurs.
Delay Rate: This option specifies the speed at which the delay cycles from zero to the maximum delay setting. Because of the varying delay time, the pitch of the sample increases or decreases, which gives the effect of separate, slightly out of tune voices. In case of low settings, the individual voices don’t vary much in pitch. In case of higher settings, the voices may vary so quickly that a warbled effect might occur.
Feedback: This option adds a percentage of processed voices back into the effect input. Feedback can give either an extra echo or reverb effect to the audio. However, a little feedback provides extra richness, depending on the delay and vibrato settings. Higher settings generate more traditional feedback, a loud sound enough to clip the signal.
Spread: This option delivers an added delay to each voice, separating them in time. High values results in separate voices to begin at different times—higher the value, the farther would be the onset of each voice. Whereas, lower values cause all voices to be in unison. Depending on other settings, low values can also produce flanging effects, which may be undesirable if a realistic chorus effect has to be achieved.
Modulation Depth: This option determines the maximum variation in amplitude that occurs. At extremely high settings, the sound may cut in and out, creating an objectionable chirrup. At extremely low settings, the depth becomes unnoticeable unless the Modulation Rate is set extremely high. Natural vibratos occur between 2 dB to 5 dB, which is the maximum. The vibrato volume might not slow down as the settings are. This limitation creates a more natural sound.
Modulation Rate: This option manages the maximum rate at which amplitude changes occur. With very low values, the resulting voice gradually gets louder and quieter, whereas with high settings, the result can be jittery and unnatural.
Highest Quality: It ensures giving quality results. However, this increases the processing time while previewing and applying the effect.
Stereo Width: It defines the placing of the individual voices in the stereo field and its interpretation.
Average Left & Right Channel Input: It is used for combining the original left and right channels. If deselected, the channels are kept separate to preserve the stereo image. Deselecting this option is suggested when the stereo source audio was originally monophonic.
Add Binaural Cues: This option separately adds separate delays to the left and right outputs, per voice. Using headphones, it may seem that the delay comes from a different direction. For greater stereo separation, deselect this option for audio that will be played through standard speakers.
Stereo Field: This option specifies the place of chorused voices across the left and right stereo image. In case of lower settings, voices are closer to the center of the stereo image. At 50%, voices are spaced evenly from left to right. In case of higher settings, voices move to the outer edges. If case odd number of voices are used, one is always directly in the center.
Output Level: This option sets the original (Dry) signal ratios to chorused (Wet) signal. Extremely high settings causes clipping.
4.8.4 Surround Reverb Effect
Input, Center: This option defines the percentage of the center channel included in the processed signal.
Input, LFE: It specifies the percentage of the Low Frequency Enhancement channel used to excite reverb for other channels.
Impulse: This option identifies the file that generates an audio space. Select Load to add a custom impulse file in WAV or AIFF format.
Room Size: This option defines a percentage of the full room specified by the impulse file. A larger percentage indicates a longer reverb.
Pre-Delay: This option specifies the time that the reverb will take to produce to maximum amplitude. A setting of short pre-delay 0-10 milliseconds creates a natural sound. Whereas, longer pre-delays of 50 milliseconds and more produces interesting special effects.
Front Width: It controls the stereo spread across the front three channels and a setting of 0 produces a mono reverb signal.
Surround Width: It controls the stereo spread across the rear surround channels.
C Wet Level: It controls the amount of reverb added to the Center channel.
L/R Bal.: It controls left-right balance of front and rear speakers. 100 outputs reverb to only the left, -100 to only the right.
F/B Bal.: It controls front-back balance of left and right speakers. 100 outputs reverb to only the front, -100 to only the back.
Wet/Dry Mix: It controls the ratio of original to reverberant sound. A setting of 100 outputs only reverb.
Gains: This option is used either for boosting or mellowing down the amplitude after processing.
4.9.4 Mastering Effect
Low Shelf and High Shelf Enable: This option activates shelving filters at either end of the frequency spectrum.
Peaking Enable: This option activates a peaking filter in the center of the frequency spectrum.
Hz: It specifies the center frequency of each band.
dB: It specifies the level of each frequency band.
QControls: It manages the width of the affected frequency band. Low Q values affect a larger range of frequencies and advisable for overall audio enhancement. High Q values affect a very narrow band and are ideal for removing a particular, problematic frequency, like 60-Hz hum.
Reverb: It helps in adding ambience. The Amount slider can be dragged to change the ratio of original to reverberant sound.
Exciter: It increases high-frequency harmonics, adding sharpness and clarity. Mode options include Retro for light distortion, Tape for bright tone, and Tube for quick, dynamic response. The Amount slider can be dragged to manage the level of processing.
Widener: It manages the stereo image.The Width slider can be dragged to the left for narrowing the image and increasing central focus. The sliders can be dragged to the right for expanding the image and enhance spatial placement of individual sounds.
Loudness Maximizer: It implements a limiter that decreases dynamic range, boosting perceived levels. A setting of 0% reflects original levels, whereas 100% applies maximum limiting.
Output Gain: It specifies output level post processing. Output gain can be boosted to compensate for EQ adjustments that reduce the overall level of volume.
