Adobe audition 3.0 tutorial free download

Using specialized software There are Using a Adobe Acrobat Pro Adobe Illustrator Adobe Illustrator The Adobe Windows Mac. Windows Users’ choice Adobe audition computer software 3. Nero WaveEditor. Extreme Sample Converter.

Take full advantage of the latest hardware with multicore processor support and an optimized mixing engine. Improved processing, including the high-quality Radius time-stretching engine from iZotope and numerous new effects, gives you infinite creative options.

Comprehensive waveform-editing tools combined with innovative spectral frequency brushes let you edit with power and precision. Additionally you can download these files which contain uncompressed, royalty-free audio loop files in over 20 different musical styles that range from rockabilly to cocktail jazz and classical to funk.

You can download these files by clicking the links below. Antares Autotune VST. PC Drummer. Adobe Captivate. Cardinal MiniLab. ProSystem fx PDFlyer.

WinWay Resume Deluxe. Migration Manager. How to make a good podcast. How to create infographics. Advanced embedding details, examples, and help! Publication date Topics armangedon Language english-handwritten. Addeddate Identifier adobe-audition There are no reviews yet. Be the first one to write a review.

PDF Télécharger adobe audition tutorial pdf Gratuit PDF | replace.me – Record, edit, and mix audio for video, podcasts, and effects.

Read Me The installation disc contains the Read Me file for your software. This file is also copied to the application folder during product installation.

Open the file to read important information about topics such as the following: System requirements. In-product and LiveDocs Help In-product Help provides access to all documentation and instructional content available at the time the software ships. It is available through the Help menu in your Adobe software. LiveDocs Help includes all the content from in-product Help, plus updates and links to additional instructional content available on the web.

Find LiveDocs Help for your product in the Adobe Help Resource Center, at Think of Help, both in the product and on the web, as a hub for accessing additional content and communities of users. The most complete and up-to-date version of Help is always on the web. Other documents, such as installation guides and white papers, may also be provided as PDFs. Printed documentation Printed user guides are available for purchase in the Adobe Store at where you can also find books published by Adobe publishing partners.

Extras You have access to a wide variety of resources that help you make the most of your Adobe software. Some of these resources are installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content disc.

Unique extras are also offered online by the Adobe Exchange community. Presets include a collection of effect settings optimized for specific sonic results. If you don t want to create an effect from scratch, start with presets for inspiration. Content on CD and DVD On the installation disc, the Documentation folder contains a PDF version of Help, technical information, and other documents such as reference guides and specialized feature information.

This disc provides thousands of royalty-free loops, plus ready-made music beds and professional sample sessions. Adobe Exchange For more free content, visit an online community where users download and share thousands of free actions, extensions, plug-ins, and other content for use with Adobe products.

Adobe Design Center Adobe Design Center offers articles, inspiration, and instruction from industry experts, top designers, and Adobe publishing partners. New content is added monthly. You can find hundreds of tutorials for design products and learn tips and techniques through videos, HTML tutorials, and sample book chapters.

New ideas are the heart of Think Tank, Dialog Box, and Gallery: ThinkTankarticlesconsiderhowtoday sdesignersengagewithtechnologyandwhattheirexperiencesmeanfor design, design tools, and society. In Dialog Box, experts share new ideas in motion graphics and digital design. The Gallery showcases how artists communicate design in motion.

The Developer Center also contains resources for developers who develop plug-ins for Adobe products. In addition to sample code and tutorials, you’ll find RSS feeds, online seminars, SDKs, scripting guides, and other technical resources. Visit Adobe Developer Center at Customer support Visit the Adobe Support website, at to find troubleshooting information for your product and to learn about free and paid technical support options. Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more.

Downloads Visit to find freeupdates, tryouts, and other useful software. In addition, theadobe Store at provides access to thousands of plug-ins from third-party developers, helping you to automate tasks, customize workflows, create specialized professional effects, and more.

Adobe Labs Adobe Labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. At Adobe Labs, you have access to resources such as these: Prerelease software and technologies. In this environment, customers quickly become productive with new products and technologies.

Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community. Visit Adobe Labs at User communities User communities feature forums, blogs, and other avenues for users to share technologies, tools, and information. Users can ask questions and find out how others are getting the most out of their software. User-to-user forums are available in English, French, German, and Japanese; blogs are posted in a wide range of languages.

Mix faster with new automatic crossfades, clip fade handles, and automation-editing improvements. Take full advantage of the latest hardware with multicore processor support and an optimized mixing engine. See Enable VST effects on page Auto crossfades and clip fade handles Simply overlap clips to crossfade them, and adjust fade curves with on-clip handles. See Fade or crossfade clips in a track on page Improved multitrack editing Efficiently edit sessions with these key enhancements: Collectively trim and fade grouped clips.

See Grouping clips on page Ripple-delete ranges of clips, instantly removing time gaps. See Trimming and extending clips on page Adjust selected ranges of automation points.

See Edit automation envelopes on page Duplicate the contents of entire tracks, including clips, effects, and automation. See Duplicate a track on page Simultaneously view all input and output levels to comprehensively monitor a mix. See Monitor levels on page See Save multitrack sessions on page Mix down directly to Edit View Quickly output a session directly to Edit View, without first exporting a file. See Create a single audio clip from multiple clips on page See Previewing video on page Create and arrange Adobe Audition 3.

Improved processing, including the high-quality Radius time-stretching engine from izotope and numerous new effects, gives you infinite creative options. See Effects reference. Radius time-stretching from izotope Access industry-standard algorithms in the updated Stretch effect, as well as the File Info and Audio Clip Looping dialog boxes. Bitmap audio images Export spectral graphs for detailed editing in an image-editor like Adobe Photoshop. Or, import visually-oriented graphics as source material for experimental sound designs.

See Spectral Bitmap Image. Enhanced file sorting Sort files by track number, or by the date they were opened or created. See Change how files appear in the Files panel on page Customizable workspaces Tint panels and dialog boxes to suit your working style. Add favorite commands to the shortcut bar. See Change interface brightness or tint on page 29 and Display the shortcut bar on page Edit and master Adobe Audition 3.

Comprehensive waveform-editing tools combined with innovative spectral frequency brushes let you edit with power and precision. Spot Healing Brush Quickly brush over artifacts to seamlessly remove them. See Select artifacts and repair them automatically on page Effects Paintbrush Create free-form selections, and layer brush strokes to determine the intensity of effects. See Select spectral ranges on page Marquee pan and phase selections Process discrete stereo information such as center-panned vocals in Spectral Pan Display or out-of-phase audio in Spectral Phase Display.

Play spectral selections Play back selected frequency, pan, and phase ranges to precisely restore and process audio. See Play audio linearly on page On-clip fade and gain controls Visually adjust selections or entire files.

See Visually fading and changing amplitude on page See View the top and tail of an audio file on page Mastering effect Optimize audio for maximum impact with a series of professional processors. See Mastering effect on page See Adaptive Noise Reduction effect on page Graphic Panner Visually adjust the stereo field to enhance spatial perception.

See Graphic Panner effect on page Play lists Organize and play marker ranges for live performance and broadcast. See Creating play lists on page Efficient file opening and saving Specify default formats for Open and Save As dialog boxes, and quickly save groups of files to one format.

See System preferences on page 34 and Save a group of audio files to one format on page These vibrations push nearby air molecules together, raising the air pressure slightly. The air molecules under pressure then push on the air molecules surrounding them, which push on the next set of molecules, and so on.

As high-pressure areas move through the air, they leave low-pressure areas behind them. When these waves of pressure changes reach us, they vibrate the receptors in our ears, and we hear the vibrations as sound. When you see a visual waveform that represents audio, it reflects these waves of air pressure. The zero line in the waveform is the pressure of air at rest. When the line swings up to a peak, it represents higher pressure; when the line swings down to a trough, it represents lower pressure.

C A 0 B A sound wave represented as a visual waveform A. Zero line B. Low-pressure area C. High-pressure area Waveform measurements Several measurements describe waveforms: Amplitude Reflects the change in pressure from the peak of the waveform to the trough. High-amplitude waveforms are loud; low-amplitude waveforms are quiet. Cycle Describes a single, repeated sequence of pressure changes, from zero pressure, to high pressure, to low pressure, and back to zero. Frequency Measured in hertz Hz , describes the number of cycles per second.

For example, a Hz waveform has cycles per second. The higher the frequency, the higher the musical pitch. Phase Measured in degrees, indicates the position of a waveform in a cycle. Wavelength Measured in units such as inches or centimeters, is the distance between two points with the same degree of phase. As frequency increases, wavelength decreases. Wavelength B.

Degree of phase C. Amplitude D. One second D How sound waves interact When two or more sound waves meet, they add to and subtract from each other. If their peaks and troughs are perfectly in phase, they reinforce each other, resulting in a waveform that has higher amplitude than either individual waveform. In-phase waves reinforce each other. If the peaks and troughs of two waveforms are perfectly out of phase, they cancel each other out, resulting in no waveform at all.

Out-of-phase waves cancel each other out. In most cases, however, waves are out of phase in varying amounts, resulting in a combined waveform that is more complex than individual waveforms. A complex waveform that represents music, voice, noise, and other sounds, for example, combines the waveforms from each sound together.

Because of its unique physical structure, a single instrument can create extremely complex waves. That s why a violin and a trumpet sound different even when playing the same note. Two simple waves combine to create a complex wave. Analog audio: positive and negative voltage A microphone converts the pressure waves of sound into voltage changes in a wire: high pressure becomes positive voltage, and low pressure becomes negative voltage.

When these voltage changes travel down a microphone wire, they can be recorded onto tape as changes in magnetic strength or onto vinyl records as changes in groove size. A speaker works like a microphone in reverse, taking the voltage signals from an audio recording and vibrating to recreate the pressure wave.

Digital audio: zeroes and ones Unlike analog storage media such as magnetic tape or vinyl records, computers store audio information digitally as a series of zeroes and ones. In digital storage, the original waveform is broken up into individual snapshots called samples.

This process is typically known as digitizing or sampling the audio, but it is sometimes called analog-todigital conversion. When you record from a microphone into a computer, for example, analog-to-digital converters transform the analog signal into digital samples that computers can store and process. Sample rate Sample rate indicates the number of digital snapshots taken of an audio signal each second. This rate determines the frequency range of an audio file. The higher the sample rate, the closer the shape of the digital waveform is to that of theoriginalanalogwaveform.

A B Two sample rates A. Low sample rate that distorts the original sound wave. High sample rate that perfectly reproduces the original sound wave. To reproduce a given frequency, the sample rate must be at least twice that frequency. See Nyquist frequency on page For example, CDs have a sample rate of 44, samples per second, so they can reproduce frequencies up to 22, Hz, which is beyond the limit of human hearing, 20, Hz.

Here are the most common sample rates for digital audio:. When a sound wave is sampled, each sample is assigned the amplitude value closest to the original wave s amplitude. Higher bit depth provides more possible amplitude values, producing greater dynamic range, a lower noise floor, and higher fidelity: Bit depth Quality level Amplitude values Dynamic range 8-bit Telephony db bit CD 65, db bit DVD 16,, db bit Best 4,,, db db db 96 db 48 db 0 db 8-bit bit bit bit Higher bit depths provide greater dynamic range.

Audio file contents and size An audio file on your hard drive, such as a WAV file, consists of a small header indicating sample rate and bit depth, and then a long series of numbers, one for each sample.

These files can be very large. For example, at 44, samples per second and 16 bits per sample, a file requires 86 KB per second about 5 MB per minute. That figure doubles to 10 MB per minute for a stereo CD, which has two channels.

Through Line In or Microphone In ports, the sound card receives analog audio and digitally samples it at the specified rate. Adobe Audition stores each sample in sequence until you stop recording. When you play a file in Adobe Audition, the process happens in reverse. Adobe Audition sends a series of digital samples to the sound card. The card reconstructs the original waveform and sends it as an analog signal through Line Out ports to your speakers.

To summarize, the process of digitizing audio starts with a pressure wave in the air. A microphone converts this pressure wave into voltage changes. A sound card converts these voltage changes into digital samples. After analog sound becomes digital audio, Adobe Audition can record, edit, process, and mix it the possibilities are limited only by your imagination. In Multitrack View, you layer multiple audio files, mixing them together to create sophisticated musical compositions and video soundtracks.

With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio. This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows. Edit audio 3. Apply effects 4. Save changes In Edit View, you edit, restore, and enhance individual audio files, such as voiceovers, old vinyl recordings, and more.

Any saved changes are permanent, making Edit View a great choice for mastering and finalizing files. See Editing audio files on page Open or create a file Open an existing audio file that you want to modify. Alternatively, create a blank file that you ll record or paste audio into. See Opening audio files in Edit View on page To create a sonic collage, combine pasted audio from multiple files. Then, select noise or other audio you want to process with effects.

See Selecting audio on page In the rack, you can edit and reorder effects until you achieve the perfect results. See Applying effects in Edit View on page See Saving and exporting files on page and Building audio CDs. Saving a file to disk Multitrack workflow Open session 2. Insert or record files 3. Arrange clips 4. Apply effects 5. Mix tracks 6. Export In Multitrack View, you layer multiple audio files to create stereo or surround-sound mixes.

The edits and effects you apply aren t permanent; if a mix doesn t sound good next week, or even next year, simply change mix settings. See About multitrack sessions on page When you create a new session, you specify the sample rate for audio clips the session will contain.

See Opening and adding to sessions in Multitrack View on page To build a particularly flexible session, insert audio loops you can choose from over on the Adobe Audition Loopology DVD. See Insert an audio file into a session on page 47 and Record audio clips in Multitrack View on page Inserting from the Files panel.

In Multitrack View, edits are impermanent for maximum flexibility. But if you want to permanently edit a clip, simply double-click it to enter Edit View.

See Arranging clips on page and Editing clips on page Arranging and editing clips in the Main panel Apply effects Apply effects in the Effects Rack, where you can edit, group, and reorder effects on each track. At any future time, you can update or remove effects to address the needs of different audio projects. See Applying effects in Multitrack View on page Applying effects in the Effects Rack. As you build more complex mixes, combine related tracks in buses, and use sends to output individual tracks to multiple destinations.

Then automate effect and mix settings over time, creating a dynamic, evolving mix that highlights different musical passages. See Track routing and EQ controls on page and Automating track settings on page Routing and mixing tracks in the Mixer Export Export your finished mix to a file, which you can automatically insert in Edit View for mastering or CD View for archiving and distributing.

See Export a session to an audio file on page and Building audio CDs. However, all three views have similar basic components, such as view buttons, the Main panel, and the status bar. View buttons B. Menu bar C. Toolbar D. Shortcut bar E. Main panel F. Various other panels G. Status bar G. To edit individual files, use Edit View. Edit View and Multitrack View use different editing methods, and each has unique advantages.

Edit View uses a destructive method, which changes audio data, permanently altering saved files. Such permanent changes are preferable when converting sample rate and bit depth, mastering, or batch processing. Multitrack View uses a nondestructive method, which is impermanent and instantaneous, requiring more processing power, but increasing flexibility. This flexibility is preferable when gradually building and reevaluating a multilayered musical composition or video soundtrack.

You can combine destructive and nondestructive editing to suit the needs of a project. If a multitrack clip requires destructive editing, for example, simply double-click it to enter Edit View. Likewise, if an edited waveform contains recent changes that you dislike, use the Undo command to revert to previous states destructive edits aren t applied until you save a file.

For more information about Edit View, see Editing audio files on page 65; for more information about Multitrack View, see Mixing multitrack sessions. In Multitrack View, double-click an audio clip to open it in Edit View. Alternatively, double-click a file in the Files panel. Or, select an audio clip in either the Files panel or the Main panel, and then click the Edit File button in the Files panel. Comparing Edit View and Multitrack View on page 20 Keys for opening views on page Zooming audio Zooming adjusts the view of the timeline display in the Main panel.

The ideal zoom level depends on your current task. For example, you can zoom in to see details in an audio file or multitrack session, or you can zoom out to get an overview. YoucaneitherclickbuttonsintheZoompanel,ordragscrollbars and rulers. Click buttons in Zoom panel B.

Drag scroll bars C. Click the Zoom In Horizontally button to zoom in on the center of the visible waveform or session. Click the Zoom To Selection button to zoom in on the currently selected range. Click the Zoom Out Horizontally button to zoom out from the center of the visible waveform or session. Zoom with a scroll bar or ruler In the Main panel, do any of the following Move the pointer to either edge of a horizontal or vertical scroll bar.

When the pointer becomes a magnifying glass with arrows, drag left or right, or up or down. Right-click and drag in the horizontal ruler to zoom into a specific time range. The magnifying glass icon appears, creating a selection that shows you the range that will fill the Main panel.

Edit View only Right-click and drag in the vertical ruler to zoom into a specific amplitude range. The magnifying glass icon appears, creating a selection of the range that will fill the Main panel. To zoom with the mouse wheel, place the pointer over the appropriate scroll bar or ruler, and roll the wheel.

In Edit View, this zoom method also works when the pointer is over the waveform. You can set the percentage of this zoom on the General tab of the Preferences dialog box. See General preferences on page Navigate with a scroll bar or ruler At higher zoom levels, you may need to scroll to see different audio content in the Main panel.

This sets the position of the scroll bar for only the current view Edit View or Multitrack View. Horizontal scroll bar B. Vertical scroll bar Multitrack View only C. Vertical ruler Edit View only D. Horizontal ruler To scroll through time, drag the horizontal scroll bar, or drag left or right in the horizontal ruler. To scroll through audio amplitudes in Edit View, drag up or down in the vertical ruler.

To scroll through tracks in Multitrack View, drag the vertical scroll bar. To scroll through tracks with the mouse wheel, place the pointer over the track display, and roll the wheel. The panel displays this information in the current time format, such as Decimal or Bars And Beats. See To change the time display format on page Monitoring time during recording and playback on page 54 Dock, group, or float panels on page PDF file.

Size : 1. Adobe Illustrator CS5 Essentials. Size : Adobe Captivate 8. Adobe Spark Getting Started. Adobe Dreamweaver Essentials. Size : 2 MB Downloads : Adobe photoshop tutorial. Description : Download free adobe photoshop tutorial course material and training in PDF file 37 pages Size : Adobe Captivate 9 – Accessibility. Adobe Illustrator CC. Adobe Dreamweaver CS5. Adobe Captivate 9 – Quizzes. Adobe Captivate 9 – NeoSpeech.

Download adobe audition computer software for free (Windows).Audition tutorials | Learn how to use Adobe Audition

You can find hundreds of tutorials for design products and learn tips and techniques through videos, HTML tutorials, and sample book chapters. New ideas are the heart of Think Tank, Dialog Box, and Gallery: ThinkTankarticlesconsiderhowtoday sdesignersengagewithtechnologyandwhattheirexperiencesmeanfor design, design tools, and society. In Dialog Box, experts share new ideas in motion graphics and digital design. The Gallery showcases how artists communicate design in motion.

The Developer Center also contains resources for developers who develop plug-ins for Adobe products. In addition to sample code and tutorials, you’ll find RSS feeds, online seminars, SDKs, scripting guides, and other technical resources. Visit Adobe Developer Center at Customer support Visit the Adobe Support website, at to find troubleshooting information for your product and to learn about free and paid technical support options.

Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more. Downloads Visit to find freeupdates, tryouts, and other useful software. In addition, theadobe Store at provides access to thousands of plug-ins from third-party developers, helping you to automate tasks, customize workflows, create specialized professional effects, and more.

Adobe Labs Adobe Labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. At Adobe Labs, you have access to resources such as these: Prerelease software and technologies. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community.

Visit Adobe Labs at User communities User communities feature forums, blogs, and other avenues for users to share technologies, tools, and information. Users can ask questions and find out how others are getting the most out of their software. User-to-user forums are available in English, French, German, and Japanese; blogs are posted in a wide range of languages. Mix faster with new automatic crossfades, clip fade handles, and automation-editing improvements.

Take full advantage of the latest hardware with multicore processor support and an optimized mixing engine. See Enable VST effects on page Auto crossfades and clip fade handles Simply overlap clips to crossfade them, and adjust fade curves with on-clip handles.

See Fade or crossfade clips in a track on page Improved multitrack editing Efficiently edit sessions with these key enhancements: Collectively trim and fade grouped clips. See Grouping clips on page Ripple-delete ranges of clips, instantly removing time gaps. See Trimming and extending clips on page Adjust selected ranges of automation points. See Edit automation envelopes on page Duplicate the contents of entire tracks, including clips, effects, and automation.

See Duplicate a track on page Simultaneously view all input and output levels to comprehensively monitor a mix. See Monitor levels on page See Save multitrack sessions on page Mix down directly to Edit View Quickly output a session directly to Edit View, without first exporting a file.

See Create a single audio clip from multiple clips on page See Previewing video on page Create and arrange Adobe Audition 3. Improved processing, including the high-quality Radius time-stretching engine from izotope and numerous new effects, gives you infinite creative options. See Effects reference. Radius time-stretching from izotope Access industry-standard algorithms in the updated Stretch effect, as well as the File Info and Audio Clip Looping dialog boxes.

Bitmap audio images Export spectral graphs for detailed editing in an image-editor like Adobe Photoshop.

Or, import visually-oriented graphics as source material for experimental sound designs. See Spectral Bitmap Image. Enhanced file sorting Sort files by track number, or by the date they were opened or created. See Change how files appear in the Files panel on page Customizable workspaces Tint panels and dialog boxes to suit your working style. Add favorite commands to the shortcut bar.

See Change interface brightness or tint on page 29 and Display the shortcut bar on page Edit and master Adobe Audition 3. Comprehensive waveform-editing tools combined with innovative spectral frequency brushes let you edit with power and precision. Spot Healing Brush Quickly brush over artifacts to seamlessly remove them. See Select artifacts and repair them automatically on page Effects Paintbrush Create free-form selections, and layer brush strokes to determine the intensity of effects.

See Select spectral ranges on page Marquee pan and phase selections Process discrete stereo information such as center-panned vocals in Spectral Pan Display or out-of-phase audio in Spectral Phase Display.

Play spectral selections Play back selected frequency, pan, and phase ranges to precisely restore and process audio.

See Play audio linearly on page On-clip fade and gain controls Visually adjust selections or entire files. See Visually fading and changing amplitude on page See View the top and tail of an audio file on page Mastering effect Optimize audio for maximum impact with a series of professional processors. See Mastering effect on page See Adaptive Noise Reduction effect on page Graphic Panner Visually adjust the stereo field to enhance spatial perception.

See Graphic Panner effect on page Play lists Organize and play marker ranges for live performance and broadcast. See Creating play lists on page Efficient file opening and saving Specify default formats for Open and Save As dialog boxes, and quickly save groups of files to one format.

See System preferences on page 34 and Save a group of audio files to one format on page These vibrations push nearby air molecules together, raising the air pressure slightly. The air molecules under pressure then push on the air molecules surrounding them, which push on the next set of molecules, and so on.

As high-pressure areas move through the air, they leave low-pressure areas behind them. When these waves of pressure changes reach us, they vibrate the receptors in our ears, and we hear the vibrations as sound. When you see a visual waveform that represents audio, it reflects these waves of air pressure.

The zero line in the waveform is the pressure of air at rest. When the line swings up to a peak, it represents higher pressure; when the line swings down to a trough, it represents lower pressure. C A 0 B A sound wave represented as a visual waveform A. Zero line B. Low-pressure area C. High-pressure area Waveform measurements Several measurements describe waveforms: Amplitude Reflects the change in pressure from the peak of the waveform to the trough.

High-amplitude waveforms are loud; low-amplitude waveforms are quiet. Cycle Describes a single, repeated sequence of pressure changes, from zero pressure, to high pressure, to low pressure, and back to zero. Frequency Measured in hertz Hz , describes the number of cycles per second.

For example, a Hz waveform has cycles per second. The higher the frequency, the higher the musical pitch.

Phase Measured in degrees, indicates the position of a waveform in a cycle. Wavelength Measured in units such as inches or centimeters, is the distance between two points with the same degree of phase. As frequency increases, wavelength decreases. Wavelength B. Degree of phase C. Amplitude D. One second D How sound waves interact When two or more sound waves meet, they add to and subtract from each other.

If their peaks and troughs are perfectly in phase, they reinforce each other, resulting in a waveform that has higher amplitude than either individual waveform.

In-phase waves reinforce each other. If the peaks and troughs of two waveforms are perfectly out of phase, they cancel each other out, resulting in no waveform at all.

Out-of-phase waves cancel each other out. In most cases, however, waves are out of phase in varying amounts, resulting in a combined waveform that is more complex than individual waveforms. A complex waveform that represents music, voice, noise, and other sounds, for example, combines the waveforms from each sound together. Because of its unique physical structure, a single instrument can create extremely complex waves.

That s why a violin and a trumpet sound different even when playing the same note. Two simple waves combine to create a complex wave. Analog audio: positive and negative voltage A microphone converts the pressure waves of sound into voltage changes in a wire: high pressure becomes positive voltage, and low pressure becomes negative voltage. When these voltage changes travel down a microphone wire, they can be recorded onto tape as changes in magnetic strength or onto vinyl records as changes in groove size.

A speaker works like a microphone in reverse, taking the voltage signals from an audio recording and vibrating to recreate the pressure wave. Digital audio: zeroes and ones Unlike analog storage media such as magnetic tape or vinyl records, computers store audio information digitally as a series of zeroes and ones. In digital storage, the original waveform is broken up into individual snapshots called samples. This process is typically known as digitizing or sampling the audio, but it is sometimes called analog-todigital conversion.

When you record from a microphone into a computer, for example, analog-to-digital converters transform the analog signal into digital samples that computers can store and process. Sample rate Sample rate indicates the number of digital snapshots taken of an audio signal each second. This rate determines the frequency range of an audio file.

The higher the sample rate, the closer the shape of the digital waveform is to that of theoriginalanalogwaveform. A B Two sample rates A. Low sample rate that distorts the original sound wave. High sample rate that perfectly reproduces the original sound wave. To reproduce a given frequency, the sample rate must be at least twice that frequency. See Nyquist frequency on page For example, CDs have a sample rate of 44, samples per second, so they can reproduce frequencies up to 22, Hz, which is beyond the limit of human hearing, 20, Hz.

Here are the most common sample rates for digital audio:. When a sound wave is sampled, each sample is assigned the amplitude value closest to the original wave s amplitude. Higher bit depth provides more possible amplitude values, producing greater dynamic range, a lower noise floor, and higher fidelity: Bit depth Quality level Amplitude values Dynamic range 8-bit Telephony db bit CD 65, db bit DVD 16,, db bit Best 4,,, db db db 96 db 48 db 0 db 8-bit bit bit bit Higher bit depths provide greater dynamic range.

Audio file contents and size An audio file on your hard drive, such as a WAV file, consists of a small header indicating sample rate and bit depth, and then a long series of numbers, one for each sample. These files can be very large.

For example, at 44, samples per second and 16 bits per sample, a file requires 86 KB per second about 5 MB per minute. That figure doubles to 10 MB per minute for a stereo CD, which has two channels. Through Line In or Microphone In ports, the sound card receives analog audio and digitally samples it at the specified rate. Adobe Audition stores each sample in sequence until you stop recording.

When you play a file in Adobe Audition, the process happens in reverse. Adobe Audition sends a series of digital samples to the sound card. The card reconstructs the original waveform and sends it as an analog signal through Line Out ports to your speakers. To summarize, the process of digitizing audio starts with a pressure wave in the air. A microphone converts this pressure wave into voltage changes.

A sound card converts these voltage changes into digital samples. After analog sound becomes digital audio, Adobe Audition can record, edit, process, and mix it the possibilities are limited only by your imagination. In Multitrack View, you layer multiple audio files, mixing them together to create sophisticated musical compositions and video soundtracks. With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio.

This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows.

Edit audio 3. Apply effects 4. Save changes In Edit View, you edit, restore, and enhance individual audio files, such as voiceovers, old vinyl recordings, and more. Any saved changes are permanent, making Edit View a great choice for mastering and finalizing files.

See Editing audio files on page Open or create a file Open an existing audio file that you want to modify. Alternatively, create a blank file that you ll record or paste audio into.

See Opening audio files in Edit View on page To create a sonic collage, combine pasted audio from multiple files.

Then, select noise or other audio you want to process with effects. See Selecting audio on page In the rack, you can edit and reorder effects until you achieve the perfect results. See Applying effects in Edit View on page See Saving and exporting files on page and Building audio CDs.

Saving a file to disk Multitrack workflow Open session 2. Insert or record files 3. Arrange clips 4. Apply effects 5. Mix tracks 6.

Export In Multitrack View, you layer multiple audio files to create stereo or surround-sound mixes. The edits and effects you apply aren t permanent; if a mix doesn t sound good next week, or even next year, simply change mix settings. See About multitrack sessions on page When you create a new session, you specify the sample rate for audio clips the session will contain.

See Opening and adding to sessions in Multitrack View on page To build a particularly flexible session, insert audio loops you can choose from over on the Adobe Audition Loopology DVD. See Insert an audio file into a session on page 47 and Record audio clips in Multitrack View on page Inserting from the Files panel. In Multitrack View, edits are impermanent for maximum flexibility.

But if you want to permanently edit a clip, simply double-click it to enter Edit View. See Arranging clips on page and Editing clips on page Arranging and editing clips in the Main panel Apply effects Apply effects in the Effects Rack, where you can edit, group, and reorder effects on each track. At any future time, you can update or remove effects to address the needs of different audio projects.

See Applying effects in Multitrack View on page Applying effects in the Effects Rack. As you build more complex mixes, combine related tracks in buses, and use sends to output individual tracks to multiple destinations. Then automate effect and mix settings over time, creating a dynamic, evolving mix that highlights different musical passages.

See Track routing and EQ controls on page and Automating track settings on page Routing and mixing tracks in the Mixer Export Export your finished mix to a file, which you can automatically insert in Edit View for mastering or CD View for archiving and distributing.

See Export a session to an audio file on page and Building audio CDs. However, all three views have similar basic components, such as view buttons, the Main panel, and the status bar. View buttons B. Menu bar C. Toolbar D. Shortcut bar E. Main panel F. Various other panels G. Status bar G. To edit individual files, use Edit View. Edit View and Multitrack View use different editing methods, and each has unique advantages.

Edit View uses a destructive method, which changes audio data, permanently altering saved files. Such permanent changes are preferable when converting sample rate and bit depth, mastering, or batch processing. Multitrack View uses a nondestructive method, which is impermanent and instantaneous, requiring more processing power, but increasing flexibility.

This flexibility is preferable when gradually building and reevaluating a multilayered musical composition or video soundtrack. You can combine destructive and nondestructive editing to suit the needs of a project. If a multitrack clip requires destructive editing, for example, simply double-click it to enter Edit View.

Likewise, if an edited waveform contains recent changes that you dislike, use the Undo command to revert to previous states destructive edits aren t applied until you save a file. For more information about Edit View, see Editing audio files on page 65; for more information about Multitrack View, see Mixing multitrack sessions. In Multitrack View, double-click an audio clip to open it in Edit View. Alternatively, double-click a file in the Files panel. Or, select an audio clip in either the Files panel or the Main panel, and then click the Edit File button in the Files panel.

Comparing Edit View and Multitrack View on page 20 Keys for opening views on page Zooming audio Zooming adjusts the view of the timeline display in the Main panel. The ideal zoom level depends on your current task.

For example, you can zoom in to see details in an audio file or multitrack session, or you can zoom out to get an overview. YoucaneitherclickbuttonsintheZoompanel,ordragscrollbars and rulers. Click buttons in Zoom panel B. Drag scroll bars C. Click the Zoom In Horizontally button to zoom in on the center of the visible waveform or session. Click the Zoom To Selection button to zoom in on the currently selected range. Click the Zoom Out Horizontally button to zoom out from the center of the visible waveform or session.

Zoom with a scroll bar or ruler In the Main panel, do any of the following Move the pointer to either edge of a horizontal or vertical scroll bar. When the pointer becomes a magnifying glass with arrows, drag left or right, or up or down.

Right-click and drag in the horizontal ruler to zoom into a specific time range. The magnifying glass icon appears, creating a selection that shows you the range that will fill the Main panel. Edit View only Right-click and drag in the vertical ruler to zoom into a specific amplitude range. The magnifying glass icon appears, creating a selection of the range that will fill the Main panel.

To zoom with the mouse wheel, place the pointer over the appropriate scroll bar or ruler, and roll the wheel. In Edit View, this zoom method also works when the pointer is over the waveform. You can set the percentage of this zoom on the General tab of the Preferences dialog box.

See General preferences on page Navigate with a scroll bar or ruler At higher zoom levels, you may need to scroll to see different audio content in the Main panel. This sets the position of the scroll bar for only the current view Edit View or Multitrack View. Horizontal scroll bar B. Vertical scroll bar Multitrack View only C. Vertical ruler Edit View only D. Horizontal ruler To scroll through time, drag the horizontal scroll bar, or drag left or right in the horizontal ruler.

To scroll through audio amplitudes in Edit View, drag up or down in the vertical ruler. To scroll through tracks in Multitrack View, drag the vertical scroll bar.

To scroll through tracks with the mouse wheel, place the pointer over the track display, and roll the wheel. The panel displays this information in the current time format, such as Decimal or Bars And Beats. See To change the time display format on page Monitoring time during recording and playback on page 54 Dock, group, or float panels on page Although each application has its own set of panels such as Tools, Properties, Timeline, and so on , you move and group panels in the same way across products.

The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that stand alone. You customize a workspace by arranging panels in the layout that best suits your working style. You can create and save several custom workspaces for different tasks for example, one for editing and one for previewing.

You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window. As you rearrange panels, the other panels resize automatically to fit the window. YoucanusefloatingwindowstocreateaworkspacemorelikethoseinpreviousversionsofAdobeapplications,orto place panels on multiple monitors. B C A Example workspace A. Application window B. Grouped panels C. Individual panel For a video about the Adobe workspace, see Dock, group, or float panels You can dock panels together, move panels into or out of a group, and undock a panel so that it floats in a new window above the application window.

As you drag a panel, drop zones areas onto which you can move the panel become highlighted. The drop zone you choose determines where the panel is inserted, and whether it docks or groups with other panels. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel. Groupingapanelstacksit with other panels. A B C Dragging panel A onto grouping zone B to group it with existing panels C Dock or group panels 1 If the panel you want to dock or group is not visible, choose it from the Window menu.

Drag group gripper to move entire group The application docks or groups the panel, according to the type of drop zone. Undock a panel in a floating window When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window.

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