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Since padding is applied within the element boundaries, it will combine with margin settings to afect the overall spacing that appears between elements. Many designers abhor these default speciications, especially because they may vary among browsers. Using zero margins may be a bit extreme for your own tastes, but you get the picture.
As you become more comfortable with CSS and webpage design, you can develop your own default speciications and implement them in this way. CSS can break all these default constraints and let you place elements almost anywhere you want them to be. As with other object formatting, positioning can be speciied in relative terms such as left, right, center, and so on or by absolute coordinates measured in pixels, inches, centimeters, or other standard measure- ment systems.
Using CSS, you can even layer one element above or below another to create amazing graphical efects. By using positioning commands carefully, you can create a variety of page layouts, including popular multicolumn designs. Using CSS, you can control the placement of these elements.
Box 1 displays on a line of its own, in the default manner. Box 2 appears on the next line, aligned to the left side of the screen as speciied. Box 3 appears on the right side of the screen, but on the same line as Box 2. In subsequent lessons, you will learn how to combine diferent loat attributes with various width, height, margin, and padding settings to create sophisticated layouts for your website designs.
Unfortunately, as powerful as CSS positioning seems to be, it is the one aspect of CSS that is most prone to misinterpretation by the various browsers in use today.
Commands and formatting that work ine in one browser can be translated difer- ently or totally ignored—with tragic results—in another. In fact, formatting that works ine on one page of your website can fail on another page containing a difer- ent mix of code elements. By taking advantage of the cascade, inheritance, descendant, and speciicity theo- ries, you can target formatting to almost any element anywhere on a webpage. But CSS ofers a few more ways to optimize and customize the formatting even further.
Class attributes may be applied to any number of elements on a page, whereas P Note: Dreamweaver will warn you when ID attributes may appear only once. Class and ID names can be a single word, an abbreviation, any combination of letters and numbers, or almost anything, but they may not start with a number or contain spaces.
To declare a CSS class selector, insert a period before the name within the style sheet, like this:. In the past, many web designers used ID attributes to point at speciic components within the page, such as the header, the footer, or articles.
With the advent of HTML5 elements—header, footer, aside, article, and so on—the use of ID and class attributes for this purpose is less neces- sary than it was. But IDs can still be used to identify speciic text elements, images, and tables to assist you in building powerful hypertext navigation within your page and site. Technologies and standards are evolving and changing constantly.
Although these standards have not been oicially adopted, browser vendors are already implementing many of their features and techniques. As you work through the upcoming lessons, you will be introduced to many of these new and exciting techniques and actually implement many of the more stable HTML5 and CSS3 features within your own sample pages. Css3 features and efects here are over two dozen new features in CSS3.
Many are ready now and have been implemented in all the modern browsers; others are still experimental and are sup- ported less fully. Some of the new CSS3 features have not been standardized, and certain browsers may not recognize the default markup generated by Dreamweaver. In these instances, you may have to include speciic vendor commands to make them work properly.
If you do nothing, HTML elements will feature no formatting or structure. CSS3 features are all experimental, and you should not use them at all. Industry best practices recommend using CSS-based formatting instead.
Even if you do nothing, many HTML elements feature built-in formatting. Many CSS3 features are already supported by modern browsers and can be used today. What is the purpose of the website? Will the website sell or support a product or service? Is your site for entertainment or games? Will you provide information or news? Will you need a shopping cart or database? Do you need to accept credit card payments or electronic transfers? Who is the customer?
Are the customers adults, children, seniors, professionals, hobbyists, men, women, everyone? Knowing who your market will be is vital to the overall design and func- tionality of your site. A site intended for children probably needs more animation, interactivity, and bright engaging colors. Adults will want serious content and in- depth analysis. Seniors may need larger type and other accessibility enhancements.
A good irst step is to check out the competition. Is there an existing website Could two sites be more performing the same service or selling the same product? Are they successful? Look and Yahoo? Yet they both perform the same at Google and Yahoo.
But, just as with a brick-and-mortar business, your online customers can come to you in a variety of ways. For example, are they accessing your site on a desktop computer, laptop, tablet, or cell phone? Are they using high-speed Internet, wireless, or dial-up service? What browser do they most like to use, and what is the size and resolution of the display?
Dial-up and cell phone users may not want to see a lot of graphics or video, while users with large lat-panel displays and high-speed connec- tions may demand as much bang and sizzle as you can send at them. So, where do you get this information? But a lot of it is actually available on the Internet itself.
In , they started to track the usage of mobile devices on the Internet. If you are redesigning an existing site, your web hosting service itself may provide valuable statistics on historical traic patterns and even the visitors themselves. If you host your own site, third-party tools are available, like Google Analytics and Adobe Omniture, which you can incorporate into your code to do the tracking for you for free or for a small fee. When you boil down all the statistics, this is what you will ind as of the begin- ning of Windows 80 to 90 percent dominates the Internet, with most users divided almost equally between Firefox 37 percent and Google Chrome 33 per- cent , with various versions of Internet Explorer 22 percent taking third position.
Designing a website that can look good and work efectively for both lat-panel displays and cell phones is a tall order. Each day, more people are using cell phones and other mobile devices to access the Internet.
Some users may use them now to access the Internet more fre- quently than they use desktop computers. For one thing, cell phone screens are a fraction of the size of even the smallest lat-panel display. How do you cram a two- or three-column page design into a meager to pixels? Keep all these statistics in mind as you go through the process of designing your site.
A page carefully designed for a typical lat panel is basically useless on a cell phone. Your customers come from a broad demographic including all ages and education levels. Your marketing research indicates that most of your customers use desktop com- puters or laptops, connecting via high-speed Internet services, but that you can expect 10 to 20 percent of your visitors via cell phone and other mobile devices.
Creating thumbnails Many web designers start by drawing thumbnails with pencil and paper. Draw lines between the thumbnails showing how your navigation will connect them. Thumbnails list the pages that need to be built and how they are connected to each other. Most sites are divided into levels.
Typically, the irst level includes all the pages in your main navigation menu, the ones a visitor can reach directly from the home page.
Make a list of compo- nents you want on each page, such as headers and footers, navigation, and areas for the main content and the sidebars if any. What other factors do you need to consider? Do you have a company logo, business identity, graphic imagery, or color scheme you want to accent? Do you have publications, brochures, or current advertising campaigns you want to emulate?
It helps to gather them all in one place so you can see everything all at once on a desk or conference table. Most designers settle on one basic page design that is a compromise between lexibility and sizzle. Some site designs may naturally lean toward using more than one basic layout.
But resist the urge to design each page separately. Using a consistent page design, or template, lends a sense of professionalism and gives conidence to your visitor. Wireframes allow you to experiment with page designs quickly and eas- ily without wasting time with code. Where you put a component can drasti- cally afect its impact and usefulness. Are they on a inch lat panel or a 2-inch cell phone? Do you want to waste this position by slapping the company logo here?
Or, make the site more useful by slipping in a navigation menu? Do you go for design sizzle, workable utility, or something in between? Creating wireframes After you pick the winning design, wireframing is a fast way to work out the structure of each page in the site. A wireframe is like a thumbnail, but bigger, that sketches out each page and ills in more details about the components, such as actual link names and main headings. The wireframe for the inal design should identify the compo- nents and feature markup for content, color, and dimensions.
Such mockups are as good as seeing the real thing but may take only a fraction of the time to produce. Deining a Dreamweaver site From this point forward, the lessons in this book function within a Dreamweaver site.
Along with the options for creating a standard Dreamweaver site, the dialog ofers the ability to create a site based on the services ofered by Adobe Business Catalyst. Business Catalyst is an online, hosted application that allows you to build and manage rich, dynamic web-based businesses.
To learn more about the capabilities of Business Catalyst, check out www. To create a standard website in Dreamweaver CS6, you need only name it and select the local site folder. Site names typically relate to a speciic project or client and will appear in the Files panel.
For example, many websites provide individual folders for images, PDFs, video, and so on. Dreamweaver assists in this endeavor by including an option for a Default Images folder.
Later, as you insert images from other places on your computer, Dreamweaver will use this setting to automatically move the images into the site structure. Setting up a site is a crucial irst step in beginning any project in Dreamweaver. Knowing where the site root folder is located helps Dreamweaver determine link pathways and enables many site-wide options, such as Find and Replace.
Click Cancel. You will use the Welcome screen several times in this book. You can re-enable the Welcome screen in the General category of the Dreamweaver Preferences panel. Take a few moments to familiarize yourself with the design and components on the page. Can you determine what makes this layout diferent from existing HTML 4-based designs?
You will learn the diferences as you work through this lesson. You will align this element to the left later in this lesson. Observe the names and order of the tag selectors at the bottom of the document window.
Elements appearing to the left are parents, or containers, of all elements to the right. As you click around the page sections, you will be able to determine the HTML structure without having to delve into the Code view window at all. In many ways, the tag selector interface makes the job of identifying the HTML skeleton much easier, especially in complex page designs. These are some of the new semantic elements being introduced in HTML5. By using elements that are named for speciic tasks or types of content, you can streamline code construction while achieving other beneits as well.
For example, as search engines, such as Google and Yahoo, are optimized for HTML5, they will be able to locate and identify speciic types of content on each page more quickly, making your site more useful and easier to browse. Using these new elements means that you can apply complex CSS styling while reducing the complexity of the code overall. You can still use class and id attributes, but the new semantic elements reduce the need for this technique.
Style display is typically on by default showing a check mark in the menu. Without the CSS styling, the navigation menu reverted back to a simple bulleted, or unordered, list with hyperlinks. Not too long ago this menu would have been built with images and complex rollover animation. If the images failed to load, the menu usually became a jumbled, unusable mess.
But navigation built on text-based lists, on the other hand, will always be usable, even without styling. Get into the habit of saving your iles on a regular basis. It will prevent the loss of data and important changes to your iles.
In the Save As dialog box, navigate to the site root folder, if necessary. Name the ile mylayout. All HTML pages created for the inal site will be saved in the site root folder. If you start at the top of the page and work down, the irst step would be to insert the graphical banner that appears in the inal design.
You could insert the banner directly into the header, but adding it as a background image has the advantage of leaving that element open for other content. It will also allow the design to be more adaptable to other applications, like cell phones and mobile devices. Press Delete. When you delete the image placeholder, the empty header will collapse to a fraction of its former size because it has no CSS height speciication. But HTML5 is not the current web standard and some pages or components may not display properly on certain older browsers and devices.
With all the caveats out of the way, the ugly truth is that even when you use standard HTML 4 code and components, older browsers and certain devices will still fail to render them properly. Some web design- ers believe that the longer we persist in using the older code, the longer the older software and devices will hang around making our lives diicult and delaying the inevitable adoption of HTML5. These design- ers say we should abandon the older standards and force users to upgrade as soon as possible.
Background images repeat both vertically and horizontally by default. Click Apply. Note that the image is slightly narrower than the container. Before clicking OK, we need to add some inishing touches to the element. Did you notice that the butterly actually overlaps both the header and the hori- zontal navigation bar? This technique has declined dramatically in recent years as the need to support cell phones and other mobile devices has increased. For certain applications, AP divs are still handy.
An AP div will appear at the top left of the header. Note the ID apDiv1 assigned to the new div in the tag selector. A corresponding rule has been added to the CSS Styles panel. Another property to be aware of is the z-index. By default, all elements have a z-index of zero 0. On the other hand, the AP div has a z-index of 1, which means it will appear above all the other elements on the page.
All the values displayed in the Property inspector are actually stored in the apDiv1 rule that was generated automatically by Dreamweaver. Select butterly-ovr.
Observe the dimensions of the image: pixels by pixels. The PNG ile type supports alpha transparency, making this 3D efect pos- sible. Unfortunately, older browsers may not support alpha transparency and other PNG features. If you use PNG iles with such efects, always test them in your target browsers to make sure the desired efects are supported. Change the height to px. Type 30 px in the Left margin ield. An AP div acts like a free agent. Press the Right Arrow key.
Type FFC in the Color ield. Select Bold from the Font-weight ield. Enter 20 px in the Right padding ield. Enter 5 px Bottom ield, remember in the Bottom padding ield.
Enter the following values only in the corresponding Bottom border ields: solid, 2 px, Dreamweaver does ofer HTML 4 layouts that match the design criteria much more closely, but it was hard to resist working with an HTML5 layout and all the new semantic elements.
Besides, adjusting the layout is a lot easier than you may think. For example, the overall width has to be modiied to match the banner image. You can use the rulers to measure the width and height of HTML elements or images. To give you more lexibility, you can set this zero point anywhere in the Design window. Drag the crosshairs to the upper-left corner of the header element in the current layout. Note the width of the layout. Using the ruler, you can see that the layout is between and pixels wide.
Observe the tag selector display to locate any elements that may control the width of the entire page; it would have to be an element that contains all the other elements. By now you should be getting good at CSS forensics using the tag selector interface and the Code Navigator. In our example, the main content area shifted down below the sidebar. Note its width: pixels. In the Properties section of the panel, change the width to px.
For this application, a thin border makes the most sense. In the Border category, if necessary select the Same For All check boxes and enter the following values for all border ields: solid, 2px, and A dark green border appears around the page edge. Type Green News. Change Link two to read Green Products. Change Link three to read Green Events. Change Link four to read Green Travel.
Type Green Tips. Observe the menu items and compare the irst four with the last. Can you see the diference? For Green Tips to look like the other menu items, you have to add a hyperlink, or at least a similar placeholder.
All the menu items are identically formatted now. In some cases, the rules listed may only afect the element in a roundabout way, as in the body rule, which afects all HTML elements on the page. Remember, more than one rule can, and probably will, format each page element. Be careful. Sound right? In the Properties section of the panel, change the existing background color to But the black text is diicult to read against the green background color. As you see in the horizontal menu, a lighter color would be more appropriate.
You can use the Properties section of the CSS Styles panel to add, as well as edit, element properties. A new property ield appears. Type FFC in the Value ield. According to the Code Navigator, the nav ul a, nav format various default hyperlink behaviors. Inserting an image placeholder he sidebar will feature photos, captions, and short blurbs on environmental top- ics. If it were, it would inherit any margins, padding, and other formatting applied to the paragraph, which could cause it to disrupt the layout.
Type in the Height ield. Type Insert caption here. Type Insert main heading here to replace the text. Type Insert subheading here to replace the text.
Type Insert content here to replace it. Type Copyright Meridien GreenStart. Checking browser compatibility he CSS layouts included with Dreamweaver have been thoroughly tested to work lawlessly in all modern browsers. However, during the lesson you made major modiications to the original layout. Before you use this page as your project template, you should check its compatibility. When the Report box opens, there should be no issues listed. You created a workable basic page layout for your project tem- plate and learned how to insert additional components, image placeholders, text, and headings; adjust CSS formatting; and check for browser compatibility.
In the upcoming lessons, you will work further on this ile to complete the site template, tweak the CSS formatting and set up the template structure.
How did they get here? It allows you to investigate what CSS rules are formatting a selected element and how they are applied. Stored in a cascading style sheet CSS , the formatting can be quickly changed and substituted for speciic applications and devices. Note the layout, various colors, and other formats applied to the text and page elements—all created by cascading style sheets CSS.
Using the comment structure allows such applications to ignore the CSS. When you create new rules or edit existing ones, Dreamweaver makes all the changes in the code for you, saving you time and reducing the possibility of code-entry errors. P Note: The names and order of styles in your panel may vary from those pictured. But as you can see in the CSS Styles panel above, the rule reference appears near the bottom of all the rules.
In this instance, moving this rule within the style sheet will not afect how it formats the element but it will make it easier to ind if you need to edit it later. P Note: Before 6 Select the apDiv1 rule and drag it directly underneath the. It has also rewritten the code in the embedded style sheet, moving the rule to its new position. Arranging related rules together can save time later when you need to format speciic elements or components. But be on the lookout for unintended consequences.
Observe the properties and values that appear in the Property section of the panel. Most of these settings came with the layout, although you changed the background color in the last lesson. Note that the margins and padding are set to zero.
As in the body rule, this rule sets all margin and padding values to zero. Do you know why? An experienced web designer could select each rule in turn and probably igure out the reasons for each of the formats and settings. If you are in Design view, Dreamweaver will display the document in Split view and then focus on the section of code that contains the ul, ol, dl rule. In Code view, it will jump to the appropriate lines that contain the rule. Like HTML comments, this text usually provides behind-the-scenes information that will not be displayed within the browser or afect any elements.
Comments are a good way to leave handy reminders within the body of the webpage or to leave notes to yourself or others explaining why you wrote the code in a particular fashion. It will help you ind speciic rules quickly and help remind you what you have already styled within your page.
P Note: When 11 Using the CSS Styles panel, reorder the rules in the list, as necessary, so they moving rules using the match the order shown in the igure below. CSS Styles panel, the position of comments that are not embedded may not be preserved. Working with type One of the irst basic choices any designer must make for a website is selecting the default typeface or typefaces. Some designers may use multiple typefaces for diferent purposes throughout the site. Others select a single base typeface that may match their normal corporate themes or culture.
CSS gives you tremendous control over page appearance. Some call this technique degrading gracefully. Dreamweaver CS6 ofers more than a dozen predeined font groups. You have successfully changed the basic font of the entire webpage by editing one rule. All the text on the page now displays in Trebuchet MS.
Headings, paragraphs, and list elements are all sized relative to this setting. Font size can convey the relative importance of the content on the page. Headings are typically larger than the text they introduce for that reason. Observe the tag selectors at the bottom of the document window. Identify the element that contains this caption. To reduce the text size, you could create a new compound rule to format any of those elements.
Such a rule would narrowly target the styling to content contained therein and ignore the vertical menu altogether. Many designers resort to images to add graphical lair when code-based techniques can be problematic. But large images can consume too much Internet bandwidth and make pages slow to load and respond. In some cases, a strategically designed small image can be used to create interesting 3D shapes and efects.
In this exercise, you will learn how to create a three-dimensional efect with the help of a tiny image graphic and the CSS background property. Click the Browse button next to the Background-image ield. Observe the image dimensions and preview. Notice the lighter shade of green at the top of the graphic. Since the page is pixels wide, you know that this graphic could never ill the horizontal menu unless it were copied and pasted hundreds of times.
Some graphics, with shading, like background. CSS allows you to control the repeat to ill the entire element as necessary. Note that function and limit it to either the vertical or horizontal axis. Choose repeat-x from the Background-repeat ield menu. Creating descendant selectors he predeined style sheet declares a rule for multiple elements that will afect all h1, h2, h3, h4, h5, h6, and p tags no matter where they appear on the page.
But if you want to target a style at a speciic tag within a speciic element, it requires a descendant selector. Dreamweaver makes it easy to create such rules. Note the names and order of the tag selectors at the bottom of the document window. As described earlier in this chapter, when creating new rules take care about where they appear in the style sheet. Rules at the top of the sheet can pass formatting to rules appearing later using inheritance or cancel settings because of higher speciicity.
Inserting a rule in the wrong place could cause the browsers to ignore it altogether. P Note: When the cursor is inserted into Because you selected the. If the Compound compound selector selector type is not displayed, choose it from the Selector Type menu. Typically, when the cursor is inserted not displayed when the into page content, the dialog box defaults to the Compound selector type and dialog box irst appears.
Whenever possible, rules should be simpliied to reduce the total amount of code that needs to be downloaded. Enter 5px in the Bottom margin ield. Note that the new rule was inserted directly after the. Dreamweaver makes it easy to apply classes. Make sure the cursor is lashing in the element and that no text is selected. P Note: You may need to refresh the page display to see the updated tag selector. When the cursor is inserted in an existing element, Dreamweaver assumes you want to apply the class to the entire element.
Choose green from the Class menu in the Property inspector. Now remove the class. Insert the cursor anywhere in the formatted text. When the cursor is inserted in Design or Code view.
Creating custom IDs he CSS id attribute is given the highest speciic weight in CSS styling because it is used to identify unique content on a webpage and therefore should trump all other styling. Right-click the selector name and choose Edit Selector from the context menu. Note the ID displayed in the Property inspector.
Note that the menu has two apparent options: apDiv1 and logo. You can demonstrate this functionality with a simple test. You see this diference as soon as you insert an AP div into a document: Dreamweaver creates a rule for it automatically and assigns it attributes for width, height, position, and z-index, and it then displays these speciications in the Property inspector.
In fact, the special treatment persists even after the rule is created. If you change the id attribute of the AP div in the Property inspector, Dreamweaver will update the name of the rule in the CSS Styles panel at the same time. However, the reverse is not true. If you change the rule name using the style sheet as you did in this lesson , Dreamweaver does not change the ID on the element itself. The program leaves this chore up to you.
What happened to apDiv1? Additionally, as each ID stored in the style sheet is used in your layout, Dreamweaver interactively removes it from the menu to prevent you from accidentally using it a second time. Many designers create these attributes irst and then deine them later, or use them to diferentiate speciic page structures, or to create hyperlink destinations. Some class and id attributes may never appear in the style sheets or pop-up menus.
Examine the available class attributes. Note that all class attributes are available. You should now know some of the diferences between classes and IDs, as well as how to create, edit, and assign them to elements on your page. Creating an interactive menu By combining descendant selectors, classes, and IDs, you can produce amazing behaviors from seemingly static elements. Videos, Flash animation, and JavaScript behaviors will all perform as they would on the Internet.
Observe the behavior and appearance of the menu items. P Note: Rollover refers As the mouse moves over each button, the cursor icon changes to the hand back to the time when pointer, indicating that the menu items are formatted as hyperlinks. Observe the behavior and appearance of the menu items, if any. Do not select the spaces on either making changes to your side of the word or the vertical bars, or pipes, that separate the words. If Adding a hash mark in the Link ield creates a hyperlink placeholder and desired, you can change will allow you to create and test the necessary formatting for the horizontal both the content and navigation menu without having to create an actual link.
Note that the text now styling using the Code displays the formatting of a typical text hyperlink. Be sure to select both words in each item before applying the placeholder. Watch for any undesirable side efects. The a:link pseudoclass in many cases is interchangeable with the a selector in CSS rules. However, as you already experienced earlier, a:link is more speciic and may override speciications assigned to the less speciic a selector if both are used in the style sheet.
This speciication is reset whenever the browser cache or history is deleted. When used, the pseudoclasses must be declared in the order as listed above to be efective. Remember, whether declared in the style sheet or not, each state has a set of default formats and behaviors.
When a link has been used, it usually changes color, indicating that you visited that destination earlier. However, in the vertical and horizontal menus, we do not want the links to change their appearance after you click them. To prevent or reset this behavior, you can create a compound rule that will format both states of the link at once.
Type :link to add it at the end of the selector name. It addresses audio and music professionals who depend on Audition s tools to accomplish a variety of tasks, as well as videographers who want to become more involved in the process of creating, editing, and sweetening audio intended for video productions. The book is organized in three separate parts. The introduction starts with how to get audio in and out of Audition on both Mac and Windows platforms, then progresses to an overview of the Audition Workspace a collection of modules, each dedicated to specific tasks, that you can open, close, and rearrange, depending on the nature of the project, to optimize workflow and efficiency.
The second part concentrates on digital audio editing in the Waveform Editor, and covers such topics as editing, signal processing and effects, audio restoration, mastering, and sound design. To segue into the final third, it also covers recording, and integration with the Multitrack Editor.
The final section covers the Multitrack Editor in detail, including editing, automation, creating music with sound libraries, in-depth coverage of mixing, and creating soundtracks for video. Throughout the book, examples using digital audio clips created specifically for this book give practical, hands-on experience that brings to life the theory presented in these pages.
Even non-musicians will learn how to create music using sound libraries and loops in conjunction with Audition s extensive toolset for sound creation and editing.
You ll even learn how to do rough testing of your room acoustics prior to mixing, using tools within Audition. All of these can help you meet deadlines more easily than ever before and that alone is a good reason to become familiar with Audition s workflow, capabilities, and user interface.
Prerequisites Before you begin to use Adobe Audition CS6 Classroom in a Book, you should have a working knowledge of your computer and its operating system. Make sure that you know how to use the mouse and standard menus and commands, and also how to open, save, and close files. If you need to review these techniques, see the documentation included with your Microsoft Windows or Macintosh system.
It s also highly recommended that you read over the introduction to the Audition manual that covers digital audio basics. You ll also need the ability to get audio in and out of your computer. Virtually all computers include on-board audio capabilities audio input for recording, and internal speakers or a headphone jack for monitoring , but be aware that these use consumer-grade components and while adequate, will not showcase what Audition can do to the fullest extent.
Professional and prosumer audio interfaces are available at very reasonable costs, and are recommended not just for doing the lessons in this book, but also for any future audio work involving computers. Installing Adobe Audition Before you begin using Adobe Audition CS6 Classroom in a Book, make sure that your computer is set up correctly and that it meets the necessary system requirements for software and hardware.
You ll need a copy of Adobe Audition CS6, of course, but it s not included with this book. Note that Audition is a very efficient program, and one of its attributes is that it will run reasonably well even on older computers. However, as with most audio and video programs, having sufficient RAM is essential for a smooth computing experience. Make sure that your serial number is accessible before installing the application. You need to install Audition from its application DVD, or the online trial version you downloaded, onto your hard disk; you cannot run the program from the DVD.
Follow the onscreen instructions for a successful installation. Starting Adobe Audition You start Audition just as you do most software applications. Each lesson has its own folder; you must copy the folders to your hard disk to complete the lessons. To save room on your disk, you can install only the folder necessary for each lesson as you need it, and remove it when you re done. To copy only individual lesson files, first create a new folder on your hard disk and name it Lessons.
Then, open the Lessons folder on the CD and drag the lesson folder or folders that you want to copy from the CD into the Lessons folder on your hard disk. Only the commands and options used in the lessons are explained in this book. For comprehensive information about program features and tutorials, please refer to these resources: Adobe Community Help: Community Help brings together active Adobe product users, Adobe product team members, authors, and experts to give you the most useful, relevant, and up-to-date information about Adobe products.
Adobe content is updated based on community feedback and contributions. You can add comments to content or forums including links to web content, publish your own content using Community Publishing, or contribute Cookbook Recipes.
Adobe Forums: forums. The Audition forum is accessible from Audition s Help menu. Adobe TV: tv. Adobe Design Center: offers thoughtful articles on design and design issues, a gallery showcasing the work of top-notch designers, tutorials, and more.
Adobe Developer Connection: is your source for technical articles, code samples, and how-to videos that cover Adobe Audition, as well as the Audition SDK. Resources for educators: offers a treasure trove of information for instructors who teach classes on Adobe software. Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and can be used to prepare for the Adobe Certified Associate exams. Free audio content: Your purchase of Audition CS6 includes free libraries containing thousands of royalty-free loops, sound effects, music beds, and more.
Also check out this useful site: Inside Sound blogs. The Twitter feed is also accessible from Audition s Help menu. Checking for updates Adobe periodically provides updates to software. You can easily obtain these updates through Adobe Updater, as long as you have an active Internet connection and are a registered user.
Adobe Updater automatically checks for updates available for your Adobe software. The Adobe Certified Expert program is a way for expert users to upgrade their credentials. You can use Adobe certification as a catalyst for getting a raise, finding a job, or promoting your expertise. If you are an ACE-level instructor, the Adobe Certified Instructor program takes your skills to the next level and gives you access to a wide range of Adobe resources. Adobe Authorized Training Centers offer instructor-led courses and training on Adobe products, employing only Adobe Certified Instructors.
Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects. Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors.
They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on. In fact, sometimes audio engineers even use similar terms, like brightness, to describe increased treble. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor.
There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors. The Effects Rack allows you to create a chain of up to 16 effects, which you can enable or disable independently.
You can add, delete, replace, or reorder effects. The Effects Rack is the most flexible way of working with effects. The Effects menu allows you to select an individual effect from the Effects menu bar and apply it to whatever audio is selected. When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack.
Some effects are available in the Effects menu that are not available in the Effects Rack. The Favorites menu is the quickest but least flexible way to work with effects. If you come up with a particularly useful effects setting, you can save it as a Favorite preset. The preset is then added to the list of Favorites you can access with the Favorites menu. Selecting it applies that preset instantly to whatever audio is selected; you cannot change any parameter values before applying the effect.
This lesson initially covers using the Effects Rack, which introduces the majority of effects. The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu.
The final section describes how to work with presets, including Favorites. Click the Transport Play button to audition the loop, and then click the Transport Stop button.
A toolbar is located above the inserts, and meters with a second toolbar are below the inserts. Although you can t see any graphical connection among them, the effect s inserts are in series, meaning that the audio file feeds the first effect input, the first effect output feeds the second effect input, the second effect output feeds the third effect input, and so on until the last effect output goes to your audio interface. Inserting an effect turns its power button to on green and opens the effect s graphic user interface.
You may need to move the effect s graphic user interface to load more effects. P Note: Effects do not have to go into consecutive inserts. You can leave empty inserts between effects and place effects in these inserts later. Press the spacebar to begin playback, and then turn the Studio Reverb insert s power button on and off to hear how reverb affects the sound. Press the spacebar again to stop playback. Begin playback. You ll hear a more pronounced reverb sound.
You ll hear an echo effect, but it s not in time with the music. The echoes are now in time with the music. Later in this lesson we ll explain how to choose rhythmically correct delay times. Keep this lesson open as you continue. Removing, editing, replacing, and moving an effect Rather than present a structured exercise, try the various bulleted options that follow to see how they work.
To remove all effects in the rack, right-click Control-click anywhere on an effect s insert, and then choose Remove All Effects. To remove some effects in the rack, Ctrl-click Command-click in each effect insert containing an effect you want to remove. Then right-click Control-click anywhere in any selected effect s insert, and choose Remove Selected Effects.
To edit an effect when the effects window is hidden or you closed it, either double-click the effect s insert and click the insert s right arrow to select Edit Effect from the drop-down menu, or right-click Control-click anywhere in an effect s insert and choose Edit Selected Effect.
Either of these actions brings the effects window to the front and opens it if it was closed. To move an effect to a different insert, click the effect s insert and drag to the desired destination insert.
If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert. Bypassing all or some effects You can bypass individual effects, groups of effects, or all effects in the Effects Rack by doing the following: The power button in the lower-left corner of the Effects Rack s panel bypasses all rack effects that are on.
When powered back on, only effects that had been on prior to bypassing return to being on. Bypassed effects remain bypassed regardless of the all effects power button setting. To bypass some effects, Ctrl-click Command-click on each effect s insert you want to bypass, right-click Control-click on any of these inserts, and then choose Toggle Power State of Selected Effects. Gain-staging effects Sometimes inserting multiple effects in series causes certain frequencies to add up and produce levels that may exceed the available headroom.
For example, a filter that emphasizes the midrange could create distortion by increasing levels above acceptable limits. To set levels, in the lower part of the Effects panel use the Input and Output level controls with associated meters.
These controls can reduce or increase levels as needed. Do not start playback yet. Close the Parametric EQ window. The excessive levels will trigger the output meter s red overload indicators to the meter s right. However, the massive EQ boost is overloading the output. Turn up the monitoring level enough so you can hear the distortion this causes.
E Tip: You can click anywhere in the Output meter to reset the red distortion indicators. E Tip: Using the Mix slider to blend in more dry sound provides an easy way to make an effect more subtle. Reduce the Input level until the peaks no longer trigger the red distortion indicators. This will likely require reducing the Input to dB or so. Keep this project open for the next lesson. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other.
Applying effects Inserting an effect doesn t change the file but instead plays the original file back through the effect. This is called a nondestructive process using a real-time effect, because the original file remains unaltered. However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version. For this lesson, choose Entire File. This not only applies the effect to the file to process it, but deletes the effect from the Effects Rack so the file isn t double processed from the effect being embedded in the file and from a processor remaining in the rack.
Let s move on to lessons that show how individual effects change the sound. Amplitude and Compression effects Amplitude and Compression effects change levels or alter dynamics. You ll load each effect individually to hear how each one changes the sound. Amplify Amplify can make a file louder or softer. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted. P Note: You can insert additional effects into the Effects Rack to change the sound further, and then apply those effects.
The file will then reflect the changes caused by all the effects you ve applied. Also note that any changes are still not permanent until you save using either Save or Save As the file. At that point, the effects will be embedded permanently in the file.
With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel. Deselecting Link Sliders allows for adjusting each channel individually. They do not go into the red so it is safe to increase the gain by this amount.
The Output meter goes into the red, which shows that the gain is too high and is overloading the output. Also, try decreasing the level and listen to the results. Keep Audition open. Channel Mixer The Channel Mixer alters the amount of left and right channel signal present in the left and right channels.
Consider two possible applications: converting stereo to mono and reversing the left and right channels.
It s currently set so that the left channel consists entirely of signal from the left channel. You ll convert this stereo signal into a monaural signal by having equal amounts of left and right channel signals in the left and right channels.
When bypassed, the stereo image is wider. Now the signal is monaural. Bypass and enable the Channel Mixer to verify. Click the L tab and set the L slider to 0 and the R slider to Now the left channel consists entirely of signal from the right channel.
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Audition tutorials | Learn how to use Adobe Audition.
Only the commands and options used in the lessons are explained in this book. You can add comments to content or forums—including links to web content, publish your own content using Community Publishing, or contribute Cookbook Recipes. Find out how to contribute at www.
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For information on the Adobe Certified programs, visit www. This lesson covers audio interfacing for both Mac and Windows computers. Similarly, playback requires converting that digital data back to analog audio so you can hear it. In addition, software driv- ers handle communications between your computer and audio hardware. Note that there are many brands and models of audio interfaces, making universally applicable lessons impossible.
As a result, multiple sidebars in this lesson explain audio interface characteristics to provide important background information. Several lessons are divided into versions for Macintosh and Windows computers. Laptops may also have an internal microphone you can use; however, using a line-level device is recommended, and the lessons will reference that type of input.
You can also patch the output to a monitoring system if you have suitable cables. This is compatible with microphones and other balanced-line signals. Balanced lines use three conductors, which can be designed to minimize hum and noise pickup when carrying low-level signals.
This is common with musical instruments and much pro audio gear. The jack can handle balanced or unbalanced lines; balanced line inputs can handle unbalanced lines as well. A mainstay of consumer gear, RCA jacks are also found in some DJ audio interfaces and video equipment. This is common for on-board computer audio, but rare for external interfaces except when included to interface with MP3 players and similar consumer devices. This consumer digital interface typically uses RCA phono jacks but can also use an optical connector and very rarely XLR.
This is a professional-level digital interface that uses XLR connectors. This optical connector carries eight channels of digital audio. This allows for easily adding eight mic inputs to an existing interface. Apple standardized on Core Audio drivers for Macintosh- series computers starting with OS X; Macs running earlier operating systems are not compatible with Audition. The Default Input drop-down menu lists all available audio inputs.
Choose Built-In Line Input. For most Audio Hardware offers Macs, the choices are , , , and kHz; choose , which additional level controls, is the standard for CDs. In theory, higher sample rates improve fidelity, but the the option to mute inputs, and the ability difference is subtle at best. Windows computers and external audio interfaces to click on any input or generally offer a wider choice of sample rates.
Click OK to you can remap if for close this dialog box. As a result, the computer stores some of the incoming audio in a buffer, which is like a savings account for your audio input signal. But a large buffer also means that the input signal is being diverted for a longer period of time before being processed by the computer.
As a result, if you listen to the audio coming out of the computer, it will be delayed compared to the input. Reducing the Sample Buffer value minimizes delay at the expense of system stability you may hear clicking or popping at low latencies. CDs use bit resolution, which means that audio voltages are defined with an accuracy of approximately 1 part in 65, A resolution of or bit provides a higher level of accuracy, but as with higher sample rates, higher bit resolution requires more storage: A bit file is 50 percent larger than a bit file if both are at the same sample rate.
Unlike higher sample rates, few dispute that bit recording sounds better than bit recording. Recording at It has relatively high latency but is stable and predictable. Windows Using Audition on the Mac versus using it on Windows was once a hot topic, but over time, the operating systems and associated hardware have become more alike.
Once you open Audition, for all practical purposes, it operates identically on both platforms. Each platform has strengths and limitations. The Mac handles audio transparently, avoiding the multiple drivers found with Windows. However, independent bench- marks show that all other factors being equal, Windows 7 can apply more power to audio projects than OS X. Ultimately, if there are Mac-only or Windows-only programs that are essential for what you do, that will tend to dictate which platform is best.
The reality is that both platforms have pretty much reached parity, and either will run Audition equally well. Click OK. Note that Windows XP is no longer recommended for most modern music programs, because several improvements have been made in Windows 7 with respect to handling audio, memory management, and hard disks.
Choose the desired input and output devices from the Sound Playback Default device and Sound Recording Default device drop-down menus, respectively. Audition settings for Windows audio Now that the computer has been configured properly for the audio inputs and outputs, you need to configure settings in Audition as well.
Do not change the Master Clock preference. Low values result in less delay through the system, whereas high values increase stability. Most Windows internal audio chips offer a wide variety of sample rates, often from Hz to Hz.
Choose in theory, higher sample rates improve fidelity, although few people can hear a difference. External audio interfaces typically offer fewer options that are intended for professional audio and video projects. After selecting the Sample Rate, click OK. Click OK to close this dialog box. This list covers the defaults for channel most common sample rates used for pro audio: mapping seldom need to be changed.
Typically used for digital broadcast and satellite transmissions. The sample rate for CDs and most consumer digital audio. The most common sample rate used in broadcast video.
Some engineers claim this sounds better than Sometimes used in DVDs and other high-end audio recording channel to the Built-in processes. These ultra-high sample rates connects to the physical generate much larger files and stress your computer more, yet offer no right output. A dialog box opens. The sample rate should default to the value you selected in Preferences. Their inputs will default to what you specified in Preferences.
If you choose Mono, only the first channel of the input channel pair will be recorded. This resolution will be used to calculate changes in volume, effects, and the like, so choose the highest resolution, which is 32 float. Record several seconds of audio. Click Play, and you should hear what you recorded in your chosen output device internal speakers, earbuds, headphones, or monitoring system.
Click the Transport Stop button to end playback. For Template, choose None. This means the input can be mixed directly to the output, and the mixing is typically controlled by using an applet that shows up onscreen to bypass any latency caused by going through the computer.
Giving the other application the focus will allow it use the ASIO interface, unless Audition is recording. USB 2.
USB 1. Class-compliant interfaces are plug-and-play, but most professional interfaces use specialized drivers to improve speed and efficiency. Like USB, this also connects the interface to your computer with a cable, although the connector configuration is different than USB. This interface protocol, which carries data over a cable, is just starting to appear in computers; few Thunderbolt-compatible interfaces are available as of this writing.
However, Thunderbolt promises PCIe-type performance and compatibility with existing audio interfaces, as well as dedicated Thunderbolt interfaces. How can you use ASIO with laptop sound chips? Using the smallest number possible, consistent with the audio not producing clicks or pops, provides minimum latency. Audio in the Multitrack Editor can be transferred to the Waveform Editor for detailed editing and then transferred back.
Files brought into the Waveform Editor can be tweaked prior to making them the basis of a multi- track project. This lesson concentrates on the Waveform Editor, but operations in the Multitrack Editor are similar, and in many cases, identical. Inherently, both types of programs are quite different: Multitrack recorders can have dozens of tracks, or even over a hundred, and therefore require effects that minimize CPU power consump- tion because so many tracks will incorporate effects , and both mixing and automa- tion are extremely important.
There are often occasions when working with a multitrack recording where you need to do detailed editing on a track. This would normally require exporting the file, opening it in a second program, editing it, and then reimporting it back into the multitrack recording software. With Audition, you just click on the Waveform Editor, and all the tracks in the Multitrack Editor are already loaded and available. When you export a mixdown of a Multitrack Session, it also loads automatically into the Waveform Editor so you can master it, save it as an MP3 file or other Internet-friendly format , or even burn it to an audio CD.
This fluid movement between the two environments improves workflow. You choose which windows make up a workspace, and you can add or remove them at any time. You can also save a particular window setup as a workspace.
Once windows are brought into a workspace, they are arranged as frames and panels. Frames and panels Frames and panels are the main elements in a workspace, and you can rearrange them to suit your particular needs.
Click Yes. When you click in a panel, a yellow line outlines the panel. If a divider icon appears when you hover over one of these lines, you can click and drag to resize the panel. You can also resize the entire workspace by clicking on any edge and dragging. However, this may cause the panels below the waveform to disappear or become narrow enough to be unusable.
Every panel has a tab toward the top of it. The right part of the tab has a Close box, which closes the panel you can always reopen a panel from the Window menu if you need it later. Note how the Zoom panel expands to take up the space. Every panel is housed in a frame.
Now the Zoom, Transport, and Time be visible. Note that change its position among the other tabs. Click its lower yellow three green drop zones on the left, line and drag down until the Transport panel is just high enough to show all the right, bottom, and top buttons.
These are different from the blue 14 To create even more space, move the Levels panel to the left of the Audition drop zones because Workspace. However, you can also add a new panel to a frame. This would be a convenient frame for placing the Media Browser panel, so add it to the frame. The Media Browser is added to the frame. However, note that the frame is narrower and you can no longer see all three tabs. When this happens, Audition adds a scroll bar just above the frame.
P Note: If your mouse 4 Click the scroll bar and drag left and right to reveal the various tabs. There are five main drop zones.
If the panel drop zone is in the panel center, dropping a panel there is equivalent to dropping it into the bar with the tabs.
However, if the panel drop zone shows a bar with beveled edges, the frame will land where the bar is and push the panel with the bar over to make room. That would be a good place to drag the Time panel.
Neither option is inherently superior, but you might prefer one workflow over the other. The frame becomes a separate window that can be moved independently of the Audition Workspace and resized.
Now there are three separate windows—the Audition as you would any other Workspace, the frame with the Files and Effects Rack panels, and the Media frame or panel. Browser panel. Undock it Bar at the bottom of the workspace is by clicking the gripper in the upper-left corner and dragging it outside the the one element that Audition Workspace.
The Status path and a search box. Bar shows statistics about file size, bit resolution, sample rate, duration, available disk space, and the like. Create and save custom workspaces You are not limited to the workspaces that are included with Audition and can create you own. Your workspace now joins the list of current workspaces. The only significant departure is the Open Append menu option, which relates mostly to the Waveform Editor.
If you use Windows, it works simi- larly to the standard Windows Explorer. Once you locate a file, you can drag it into the Waveform Editor or Multitrack Editor window. Click Yes when the confirmation dialog box appears. Drag the window to the right to extend it. Click its disclosure triangle any drive.
Note how additional subcolumns show file attributes, such as duration, sample rate, channels, and more. Click the divider line between two subcolumns, and drag left or right to change width. Click a column name, like Media Type. Drag it left or right to position it. Your shortcut now provides one-click access to the designated folder. Audition has several tools that you can use to do this. Then click around a third of the way into the waveform and drag to about two-thirds of the way through the waveform to create a selection.
The orange icon at the beginning of the selection is called the current time indicator CTI , or playhead in previous versions of Audition. The Waveform Editor includes zoom but- tons, but you can also open a Zoom panel with these same eight buttons if you want to position them elsewhere or float them. The Multitrack Editor includes these same zoom buttons.
Click two times on the leftmost Zoom In Amplitude button. Zooming in on amplitude lets you see low-level signals more easily. P Note: If you zoom in This returns you to the previous amplitude zoom level.
This lets you zoom back out. This places the selection start In point in the middle of the waveform. This places the selection end Out point in the middle of the waveform.
This causes the selection to fill the window. Note that you can click the grabber in the middle of the two yellow bars to move the zoom area left or right. Close Audition without saving anything. Audition even lets you create your own keyboard shortcuts for the various com- mands. For example, in a Multitrack project, you might place markers before a verse and chorus so you can jump back and forth between them.
In the Waveform Editor, you might place markers to indicate places where edits are required. The Marker panel appears. Rename Marker. Or you can click on the marker 4 Click in the waveform toward the beginning, around 1. As an alternate way to add a and then type in a new name. Renaming with marker, click the Add Cue Marker button in the Markers panel.
Click around 5. Press M to mark the selection. Note that the Markers panel shows a different symbol to indicate this Range marker is marking a selection. Right-click Control-click on either the start or end of the Range marker, and then choose Convert to Point.
Double-click the first marker in the Markers panel list, and the playhead jumps to that marker. Double-click the last marker in the Marker panels list, and the playhead jumps to the last marker. Leave Audition open in preparation for the next lesson. The playhead moves to Marker 2. The playhead moves to Marker 1. Click the Move Playhead to Previous button once more, and the playhead moves to the beginning of the file.
The playhead steps to each marker until it reaches the end of the file. Rewind back to to the Rewind button the beginning. Note that you can right-click Control-click on either button to set the speed with which it moves. Playback begins. The playhead jumps to the second marker. Click the Move all be invoked during playback. Playhead To Next button again, and the playhead jumps to the third marker. With this option selected, clicking Stop will return the playhead to where it started.
With this option deselected, the playhead will stop at the position it had when you clicked the Stop button.
You can zoom in to make extremely precise edits, while seeing a zoomed-out version in the overview window at the top. Individual files are selected via the Editor panel drop-down menu. Select Narration02, and then Shift-click on Narration Four files are selected. To select noncontiguous files, press Ctrl-click [Command-click] on each file you want to load. Audition loads the selected files. Click on any of these files to select it and open it in the Waveform view. Or, click Close to close the current file in the stack that is, the one visible in the Editor panel.
This process is called selection. Select Finish Soft. Sometimes when recording narration, a drop in volume can occur at the end of phrases. You can fix this in Audition CS6.
Note that upon selecting a region, a heads-up display with a small volume control appears automatically. To audition this change, click in the timeline above the waveform. Click several seconds before the words you just edited so you can hear them in context, and then click Play. Or, vary the level and audition the results again, as you anywhere within a file to select the entire file.
Well actually, you need to go to the File menu first, select open; then choose the file you want to edit. Remember; you can clears throat open up, uh, multiple files at once. Remember that you can open up multiple files at once.
Once the files are loaded, select the file you want to edit from the drop-down menu. If not, reopen the file from the Lessons03 folder. If necessary, select the file Narration05 for editing from the Editor panel drop-down submenu.
The file will play up to the region start, and then seamlessly skip to the region end and resume playback.
Cut removes the region but places the region in the currently selected clipboard so it can be pasted elsewhere if desired. Delete also removes the region but does not place it in the clipboard, and leaves whatever is in the clipboard intact. When you invoke this command, you may not see any visual difference when zoomed out, because the adjustments are often very minor.
However, Audition is indeed moving the region boundaries as defined by the command; you can verify this by zooming in to the waveform so you can see the results with more accuracy. So, select a region that starts somewhat before and ends slightly after the actual throat clearing to tighten that gap. If the boundary occurs on a zero-crossing—a place where the waveform transitions from positive to negative, or vice versa—there is no rapid level change; hence, no click.
After making a selection, Audition can automatically optimize the region boundar- ies so they fall on zero-crossings. Moves the region boundaries closer together so each falls on the nearest zero-crossing.
Moves the region boundaries farther apart so each falls on the nearest zero-crossing. Moves the left region boundary to the nearest zero-crossing to the left. Moves the left region boundary to the nearest zero-crossing to the right. Moves the right region boundary to the nearest zero-crossing to the left. So, undo your last cut. A dialog box appears denoting the length of the silence, which will equal the region length you defined.
The gap is now shorter. In a word processing program, you typically copy a sentence to the clipboard and then paste it from the clipboard to somewhere else in the text. The word Empty will no longer appear next to the Clipboard 1 name. Keep the Narration05 file open. Now you have a separate clip for each phrase, which will make it easy to place the phrases in a different order.
Remember; you can open up multiple files at once. Otherwise, subsequent pasting will replace the selected region. When a dialog box appears, enter the desired duration of silence in the format minutes:seconds. The verse starts at about 7.
Place the playhead at the approximate beginning of the verse around 7. Click at the beginning of the downbeat, and then press M to place a marker there. If you click right on the marker, the playhead will snap to it because snapping is enabled. The pasted verse now follows the first verse before going into the bridge. Play the file from the beginning to verify this. You can use a similar concept to shorten music.
Note that the intro repeats twice, from 0 seconds to 3. Remember that the marker needs to go at the precise beginning of the beat. A dialog box appears where you can adjust the levels distortion. If you try to of the copied audio and existing audio.
Save this file, and then close it before proceeding. Repeating part of a waveform to create a loop Many elements in music are repetitive. You can move the region boundaries during playback. If you have a hard time finding good loop points, set a region to start at 7.
Now you have a loop you can use in other pieces of music. E Tip: There are several others ways to save an individual selection.
Fading regions to reduce artifacts Audio may have unintended noises, such as hum or hiss, that are masked when audio like narration is playing but are audible when the narration stops. Audition has advanced techniques for removing noise and doing audio restoration, but for simple problems, a fade is often all you need. You can see the fade attenuating the spike. Use a convex fade for this application. Review answers 1 As soon as you make a selection, a heads-up display opens with a volume control that lets you change level.
Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects. Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors.
They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor. There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors.
You can add, delete, replace, or reorder effects. The Effects Rack is the most flexible way of working with effects.
When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack. Some effects are available in the Effects menu that are not available in the Effects Rack.
If you come up with a particularly useful effects setting, you can save it as a Favorite preset. The preset is then added to the list of Favorites you can access with the Favorites menu.
Selecting it applies that preset instantly to whatever audio is selected; you cannot change any parameter values before applying the effect. This lesson initially covers using the Effects Rack, which introduces the majority of effects.
The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu. The final section describes how to work with presets, including Favorites. Using the effects rack For all lessons involving the Effects Rack, it is best to use the Default workspace. Click the Transport Play button to audition the loop, and then click the Transport Stop button.
A toolbar is located above the inserts, and meters with a second toolbar are below the inserts. You series, meaning that the audio file feeds the first effect input, the first effect output can leave empty inserts feeds the second effect input, the second effect output feeds the third effect input, between effects and and so on until the last effect output goes to your audio interface. Press the spacebar again to stop playback. Begin playback. The echoes are now in time with the music.
Keep this lesson open as you continue. Either of these actions brings the effects window to the front and opens it if it was closed. If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert.
When powered back on, only effects that had been on prior to bypassing return to being on. For example, a fil- ter that emphasizes the midrange could create distortion by increasing levels above acceptable limits.
To set levels, in the lower part of the Effects panel use the Input and Output level con- trols with associated meters. These controls can reduce or increase levels as needed. Do not start playback yet. Close the Parametric EQ window. However, the massive EQ boost is overloading the output. Turn up the monitoring level enough so you can hear the distortion this causes. Reduce the Input level until meter to reset the red distortion indicators.
This will likely require To reset the Input or reducing the Input to dB or so. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other.
E Tip: Using the Mix 2 Drag the slider to the right to increase the amount of wet, filtered sound, and slider to blend in more drag to the left to increase the amount of dry, unprocessed sound.
This is called a nondestructive process using a real-time effect, because the original file remains unaltered. However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version. For this lesson, choose Entire File. Also note that any changes are still not amplitude and compression effects permanent until you save using either Save or Save As the file.
At Amplitude and Compression effects change levels or alter dynamics. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted. With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel.
Deselecting Link Sliders allows for adjusting each channel individually. They do not go into the red so it is safe to increase the gain by this amount. The Output meter goes into the red, which shows that the gain is too high and is overloading the output.
Also, try decreasing the level and listen to the results. Keep Audition open. Consider two possible applications: converting stereo to mono and reversing the left and right channels. When bypassed, the stereo image is wider.
Now the signal is monaural. Click the L tab and set operation that the the L slider to 0 and the R slider to Now the left channel consists entirely of Channel Mixer preset named All Channels signal from the right channel. Set the L slider to and the R slider to 0. Now the right conversion. When bypassed, the hi-hat is in the left channel.
De-essing is a three-step process: Identify the frequencies where sibilants exist, define that range, and then set a threshold, which if exceeded by a sibilant, automatically reduces the gain within the specified range.
This makes the sibilant less prominent. Sibilants are high frequencies. Look carefully at the spectrum and confirm that you see peaks in the range around Hz. Similarly, when set to minimum Hz , the sibilants are above this range and are still audible. Adjust the Center Frequency to hear the greatest amount of sibilants and the least amount of the voice, which will be around Hz.
Dynamics processing With a standard amplifier, the relationship between the input and output is linear. A Dynamics Processor changes the relationship of the output to the input. This change is called compression when a large input signal increase produces only a small output signal increase and expansion when a small input signal increase produces a large output signal increase.
Expansion is less common; one application is to expand objectionable low-level signals like hiss to reduce their levels further. There are also many uses for both as special effects. In the following graph, as the input signal changes from dB to dB, the output changes from dB to only dB. As a result, the Dynamics Processor has compressed 60dB of input dynamic range into 5dB of change at the output. But from dB to 0dB, the output changes from dB to 0dB.
Therefore, the Dynamics Processor has expanded 40dB of input dynamic range into 95dB of out- put dynamic range. Choose the Default preset, which provides neither compression nor expansion.
Click in the middle of segment 1 e. Drag it up a little bit to around dB. Click on the line at dB and dB to create two more squares. Click on the one at dB, and drag it down all the way to dB. This effect makes the drums sound more percussive. Bypass the dynamics processing, and and effects. By adding Make-Up gain, the documentation for processed signal is now a little bit louder. This is different from simple attenuation which lowers the levels of all signals , because in this example of limiting, levels below dB remain untouched.
Levels above dB are compressed with an essentially infinite ratio, so any input level increase produces no output level increase above dB. This limiter also has an Input Boost parameter, which can make a signal subjec- tively louder. In most cases the default is fine. Past a certain amount of input of thumb is to set it for the most natural sound.
With no become unnatural. The level at which this will look-ahead time, the limiter has to react instantly to a transient, which is not occur varies depending possible: It has to know a transient exists before it can decide what to do with it.
With voice, instantaneous. The two most important parameters are Threshold the level above which compression starts to occur and Ratio, which sets the amount of change in the output signal for a given input signal change. For example, with a ratio, a 4dB increase in input level produces a 1dB increase at the output. With an ratio, an 8dB increase in input level produces a 1dB increase at the output. Also, delete any currently loaded effects.
This shows how the Threshold and Ratio controls interrelate, and explains why you usually need to go back and forth between these two controls to dial in the right amount of compression. Slowly increase the Ratio slider by moving it to the right. The farther you move it to the right, the more compressed the sound. Leave the Ratio slider at 10 i. The lower the Threshold, the more compressed the sound; below about dB, with a Ratio of , the sound becomes so compressed as to be unusable.
Leave the Threshold slider at dB for now. When you bypass the Single- Band Compressor, note that the meters are more animated and have more pronounced peaks. The reason is that reducing peaks allows for increasing the overall output gain without exceeding the available headroom or causing distortion.
Attack sets a delay before the compression occurs after a signal exceeds the threshold. Allowing a slight Attack time, like the default setting of 10ms, lets through percussive transients up to 10ms in duration before the compression kicks in. Now set the Attack time to 0. There are no rules about Release time; basically, set it subjectively for the smoothest, most natural sound, which will usually lie between and ms. You can use the same basic steps as in the previous lesson to explore the Tube-Modeled Compressor.
The one obvious difference is that the Tube-Modeled Compressor has two meters: the one on the left shows the input signal level, and the one on the right shows how much the gain is being reduced to provide the specified amount of compression. It divides the frequency spectrum into four bands, each with its own compressor. Note that each band has an S Solo button, so you can hear what that band alone is doing. This shows how multiband compression can add an element of equalization; the output gain for the two upper bands is considerably higher than the two lower bands.
This is the mirror image of the Enhance Highs preset. The reason is that the highest band has an extremely low threshold of dB, so even low-level, high-frequency sounds are compressed. Speech Volume leveler The Speech Volume Leveler incorporates three processors—leveling, compression, and gating—to even out level variations with narration, as well as reduce back- ground noise with some signals. As you move the slider to the right, the output will become louder than the input.
Choose a value of about 60 for now. The output will peak at around -6dB. Adjust the Target Volume Level until the peaks match the peaks you saw in step 6. The slider should be around dB. There should be fewer volume variations between the soft and loud sections. To best hear how this works, with the Leveling Amount at the default setting of , select the audio between 2 and 6 seconds, and loop it.
Move the Leveling Amount back to 60, and the noise goes away. Observe the meters, and see if further tweaking can help create a more consistent output. In the reducing the attack and illustration the top waveform is the original file, whereas the lower one has been decay time of the effect processed by the Speech Volume Leveler. Delay and echo effects Adobe Audition has three echo effects with different capabilities.
All delay effects store audio in memory and then play it back later. The time that elapses between storing it and playing it back is the delay time. This makes it easy to hear single delay. Leave Adobe Audition where the project has a particular tempo. Samples is useful for tuning out short timing differences, because analog Delay you can specify delays Before digital technology, delay used tape or analog delay chip technology. These down to 1 sample at a 44,Hz sample produced a more gritty, colored sound compared to digital delay.
Analog Delay simply repeats the audio with the start time of the repeat specified by the delay amount. Unlike the Delay effect, there are separate controls for Dry and Wet levels instead of a single Mix control. The Delay slider provides the same function as the Delay effect except that the maximum delay time is 8 seconds. No Feedback a setting of 0 produces a effect. For 4 With feedback at 50, set the Trash control to Vary the loop tempo is feedback, being careful to avoid excessive, runaway feedback.
Keep Audition open for the note is The Lesson04 folder includes a file called Period vs. For example, if the response is set to be brighter than normal, each echo will be brighter than the previous one. E Tip: To set both 2 Compared to the previous delay effects, Echo has yet another way of setting the channels to the same echo mix; each channel has an Echo Level control that dials in the echo amount. Delay Time, enable Lock Left and Right.
The Dry signal is fixed. That makes it easier to hear the difference moving a single slider has on the sound. Now the echoes are brighter. The echoes are now bassy. Filter and eQ effects Equalization is an extremely important effect for adjusting tonality. Adobe Audition has four different equalizer effects, each used for different purposes, that can adjust tonality and solve frequency-response related problems: Parametric Equalizer, Graphic Equalizer, FFT Fast Fourier Transform Filter, and Notch Filter.
Parametric equalizer The Parametric Equalizer offers nine stages of equalization. Each parametric equalization stage has three parameters. The Parametric Equalizer is capable of high amounts of gain at the selected frequencies. Start playback. Each represents a controllable parametric stage. Click one of them e. Drag left to affect lower frequencies or right to affect higher frequencies. Listen to how this changes the sound. The L and H squares control a low shelf and high shelf response, respectively.
This starts boosting or cutting at the selected frequency, but the boost or cut extends outward toward the extremes of the audio spectrum. Note how this increases the treble. Similarly, click on the L box to hear how this affects the low frequencies. There are two additional stages, Highpass and Lowpass, which you enable by clicking on the HP and LP buttons, respectively. Click those buttons now. A Highpass filter is helpful for removing subsonic very low-frequency energy. Click on the HP box and drag it to the right to hear how it affects low frequencies.
Note how this creates a gradual curve. Keep this project open for the next lesson. The screen shot shows a steep along the bottom of Highpass slope, a slight parametric boost with stage 2, a narrow parametric cut the screen has three additional options.
Constant Q, where Q is a ratio compared to frequency, is most common, whereas Constant Width means the Q is the same regardless of frequency. The Ultra-Quiet option reduces noise and artifacts but requires much more processing power and can usually be left off.
Range sets the maximum amount of boost or cut to 30dB or 96dB. The more common option is 30dB. Caution: In the following lesson, keep monitor levels down as you make adjustments.
The Graphic Equalizer can produce high amounts of gain at specific frequencies. Move the various sliders up and down to hear how each affects the timbre through varying the level within their respective frequency bands. In musical terms, each slider is an octave apart. Keep Audition open in preparation for the next lesson. P Note: The strip along the bottom of the Graphic Equalizer screen has three additional parameters.
Range sets the maximum available amount of boost or cut up to dB which is a lot! Accuracy affects low-frequency processing. Otherwise, leave it at the default of points to reduce CPU loading. Master gain compensates for Output level changes caused by using the EQ. Turn it down if you added lots of boosting; turn it up if you used lots of cutting.
To hear how it works, follow the same basic procedure as the lesson for the 10 Bands version. The default settings are a practical point of departure. FFT is a highly efficient algorithm commonly used for frequency analysis. You can then drag this point up, down, or sideways.
You are not limited to the number of points you can add, which allows you to make very complex—and even truly bizarre—EQ curves and shapes.
The screen shot on the left shows Spline Curves deselected and the original placement of points, whereas the screen shot on the right shows Spline Curves selected.
P Note: As for other FFT Filter parameters, for Scale choose Logarithmic when working primarily with low frequencies because this produces the best resolution for drawing in nodes.
Linear has the same advantage at high frequencies. For the Advanced options, for the best accuracy with steep, precise filters, choose higher values like to Lower values produce fewer transients with percussive sounds. For Window, Hamming and Blackman are the best overall choices. The choices listed first narrow the shape of the response curve with subsequent choices progressively widening the shape. Note the huge amount of hum in the file. Turn off notches 3, 4, 5, and 6. Turn off notches 1 and 2.
Experiment with the Gain parameters for notches 1 and 2. These tend to produce very specific sounds, and the presets included with Adobe Audition are a good place to start. But there will also be some analysis of which parameters are most important for editing. The Chorus effect is optimized for stereo signals, so convert mono signals to stereo for best results.
Then click OK. Play the file to hear what it sounds like. Select Highest Quality; most modern computers can provide the additional processing power this option needs. If the audio crackles or breaks up, deselect this option. Notice how the sound becomes more animated. To make this more obvious, increase the Modulation Rate to 2. Return Modulation Depth to 0. Because this adds a lot more audio, you may need to bring down the Output control in the Effects Rack panel to avoid distortion.
Set it to around 40ms for now. Set it to around ms. Stereo Field makes the output narrower or wider. If you like the sound better, leave them selected. Note that some of the more bizarre sounds combine lots of modulation, feedback, or long delay times.
Alter the Feedback setting; more feedback produces a more resonant sound. Stereo Phasing changes the phase relationship of the modulation; when set to 0, the modulation is the same in both channels. Increase the Phasing amount to offset the modulation in the two channels, which creates more of a stereo effect.
Vary the Modulation Rate to change the modulation speed. Experiment with these options. Selecting Inverted changes the tone. The effect varies depending on the other parameter settings.
Many of the more radical patches use either high Modulation Rates, large amounts of Feedback, longer Initial or Final Delay Times, or a combination of these. Speed provides the same function as Modulation Rate. Phaser The Phaser effect is similar to Flanging but has a different, and often more subtle, character because it uses a specific type of filtering called an allpass filter to accom- plish its effect instead of delays.
Play the file. Change the Upper Freq to around Hz. The farther you move the Phase Difference away from the center 0 position, the greater the stereo effect. Leave it at for now. Leave it at 0. Note how at faster settings the effect is almost like vibrato. Return it to 0. This complements the Upper Frequency parameter, which is the highest frequency that Modulation attains.
Moving the value toward 0 increases the proportion of dry signal to wet signal, whereas moving the value toward increases the proportion of wet signal to dry signal. Experiment with these parameters to hear how they affect the sound.
These include the ability to remove noise, delete pops and clicks, minimize the sound caused by scratches in vinyl records, reduce tape hiss, and more. Two common reverb processes are convolution reverb and algorithmic reverb. Audition includes both. Convolution Reverb is generally the more realistic sounding of the two.
It loads an impulse, which is an audio signal typically WAV file format that embodies the characteristics of a particular, fixed acoustic space. The effect then performs convolution, a mathematical operation that operates on two functions the impulse and the audio to create a third function that combines the impulse and the audio, thus impressing the qualities of the acoustic space onto the audio. The trade-off for realism is a lack of flexibility. Algorithmic Reverb creates an algorithm mathematical model of a space with variables that allow for changing the nature of that space.
All Audition reverbs other than the Convolution Reverb use algorithmic reverb technology. Each type of reverb is useful. However, it is a CPU-intensive process. Note how each impulse produces a different reverb character. For instance, if our service is temporarily suspended for maintenance we might send users an email.
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