Recovery And Undo - Adobe AUDITION 3 User Manual [Page ] | ManualsLib.

Recovery And Undo - Adobe AUDITION 3 User Manual [Page ] | ManualsLib.

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ADOBE Audition - User Manual



 

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How to create infographics. There is an Effect Paintbrush tool that is used to increase the intensity level of the audio. The desired portion of the audio content can be brush over which results in the increase of the intensity of audio. A Spot Healing tool is also introduced in this version by which you can remove the unwanted sounds from your audio clip effortlessly. All you need to do is to brush over the sounds you wanted to remove.

Next is the Multitrack view in which you can apply effects. EQ can also be applied per channel. Videos can also be dropped in and you can automatically timestretch the clips to your project. Daten unter Cursor B. Sample-Format C. Freier Speicherplatz F. Freier Speicherplatz Zeit G. Tastatur-Modifikatoren H. Wenn in der Bearbeiten-Ansicht in der Statusleiste z. In der Multitrack-Ansicht werden noch weitere Daten angezeigt, z.

Eine Stereodatei mit Ist in Adobe Audition z. Frequenzraumbearbeitung Entspricht der Standardanordnung der Bearbeiten-Ansicht, wobei im Hauptbereich jedoch die Spektralfrequenzanzeige angezeigt wird. Um ein bestimmtes Layout dauerhaft zu nutzen, speichern Sie einen benutzerdefinierten Arbeitsbereich. Andernfalls sollte diese Option deaktiviert sein. Optimal sind Werte zwischen 10 und 80 Prozent. Sie wird nur wirksam, wenn vor der Anwendung des Effekts noch kein Bereich hervorgehoben ist.

Wenn Sie eine niedrigere Zahl festlegen, wird mehr Speicherplatz freigegeben, es gehen jedoch mehr Aktionen verloren. Er sollte idealerweise auf dem schnellsten Festplattenlaufwerk angelegt werden.

Grundlegende Funktionen zur Wiederherstellung nach einem Absturz sind in Adobe Audition jederzeit aktiviert. Dadurch wird die Anzeige entlang der Zeitlinie links und rechts genauer, entlang der Frequenzskala oben und unten jedoch ungenauer. Gitterlinien anzeigen Ist diese Option aktiviert, werden in der Wellenformanzeige Gitterlinien dargestellt. Diese Linien markieren die Zeit auf der horizontalen x-Achse und die Amplitude auf der vertikalen y-Achse.

Grenzlinien anzeigen Aktivieren Sie diese Option, wenn in der Wellenformanzeige Grenzlinien dargestellt werden sollen. Alle nachfolgenden Operationen finden im Bit-Bereich statt.

Symmetrisches Dithering verwenden Diese Option aktiviert das symmetrische Dithering. Dagegen wird beim nicht symmetrischen Dithering nur zwischen 0 und 1 umgeschaltet. Die Standardeinstellung ist In vielen Situationen liefert diese Einstellung die besten Ergebnisse. Mit dem Wert 1 Voreinstellung wird das Dithering aktiviert, mit dem Wert 0 wird es deaktiviert.

Andernfalls werden die Ergebnisse wieder entfernt. Arbeiten Sie im Bit-Bereich, um dies zu vermeiden. Sind die Amplituden nicht an beiden Seiten der Auswahl ausgerichtet, befinden sich die Endpunkte an unterschiedlichen Amplituden. Glattes autom. Im Gegensatz zur Bearbeiten-Ansicht erfolgt in der Multitrack-. Dadurch werden Systemressourcen eingespart. MTC ist ein digitales Signal.

Die Windows-Zeitstempel werden ignoriert. Die Anzahl der Samples zwischen eingehendem Zeitcodesignal und ausgehenden Audiodaten. Standardwert ist ein Viertel-Frame 0, Informationen hierzu finden Sie in der Dokumentation des Controllers. Die aktive Wellenform kann jedoch auf diese Weise nicht geschlossen werden.

Links neben jeder Aktion ist der Speicherplatz angegeben, den sie auf der Festplatte belegt. Die Auswahl dieser Option ist nur dann sinnvoll, wenn das Dialogfeld auf Grund von Speichermangel automatisch angezeigt wurde. Abtastrate Legt den Frequenzbereich fest, der wiedergegeben werden kann. Geben Sie einen kleinen Bereich an, um komprimierte Audiodaten zu erhalten bzw. Verwenden Sie beispielsweise statt 2,0 einen Wert von 0,5. Gras, Schnurrhaare, Zweige und andere Merkmale mit Linien werden als Spektrallinien reproduziert und liefern einen Tintenoder Holzeffekt.

Im Gegensatz dazu gehen bei den beiden anderen genannten Modi Details verloren. Sessiondateien enthalten selbst keine Audiodaten, sondern fungieren als Zeiger, die auf Audiodateien auf der Festplatte verweisen. Welcome to ManualMachine. We have sent a verification link to to complete your registration.

Log In Sign Up. When the line swings up to a peak, it represents higher pressure; when the line swings down to a trough, it represents lower pressure. Zero line B. Low-pressure area C. High-pressure area. 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. 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. If the peaks and troughs of two waveforms are perfectly out of phase , they cancel each other out, resulting in no waveform at all. 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. 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.

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-to- digital 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 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 the original analog waveform. Low sample rates limit the range of frequencies that can be recorded, which can result in a recording that poorly represents the original sound. 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.

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.

Just as sample rate determines frequency range, bit depth determines dynamic range. Higher bit depth provides more possible amplitude values, producing greater dynamic range, a lower noise floor, and higher fidelity:. 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. When you record audio in Adobe Audition, the sound card starts the recording process and specifies what sample rate and bit depth to use. 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.

Adobe Audition provides three distinct views, each optimized for unique audio workflows:. 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. Open file 2. 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. Open an existing audio file that you want to modify. In the Main panel, trim or extend a file by deleting or generating audio. To create a sonic collage, combine pasted audio from multiple files. Then, select noise or other audio you want to process with effects. In the rack, you can edit and reorder effects until you achieve the perfect results.

Save the polished, final file to disk, or automatically insert it in CD View or a multitrack session. In Multitrack View, you layer multiple audio files to create stereo or surround-sound mixes.

When you create a new session, you specify the sample rate for audio clips the session will contain. To build a particularly flexible session, insert audio loops—you can choose from over on the Adobe Audition Loopology DVD.

In the Main panel, arrange and edit clips in the timeline. 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. 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.

In the Mixer or Main panel, output audio tracks directly to the Master track for standard mixes. 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. Export your finished mix to a file, which you can automatically insert in Edit View for mastering or CD View for archiving and distributing.

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. Adobe Audition provides different views for editing audio files and creating multitrack mixes. 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.

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. 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. Adobe Audition provides several ways to zoom. You can either click buttons in the Zoom panel, or drag scroll bars and rulers.

Click buttons in Zoom panel B. Drag scroll bars C. Right-click and drag rulers. When the pointer becomes a magnifying glass with arrows , drag left or right, or up or down. The magnifying glass icon appears, creating a selection that shows you the range that will fill the Main panel. 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.

At higher zoom levels, you may need to scroll to see different audio content in the Main panel. To change the placement of a horizontal scroll bar, right-click it, and choose Above Display or Below Display.

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 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. Adobe video and audio applications provide a consistent, customizable workspace.

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. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors. Application window B. Grouped panels C. Individual panel.

For a video about the Adobe workspace, see www. 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 zones exist along the edges of a panel, group, or window. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel. Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Grouping a panel stacks it with other panels. 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.

You can use floating windows to make use of a secondary monitor, or to create a workspace like those in earlier versions of Adobe applications. Undock Frame undocks the panel group. When you release the mouse button, the panel or group appears in a new floating window. If the application window is maximized, drag the panel to the Windows task bar. When you position the pointer over dividers between panel groups, resize icons appear.

When you drag these icons, all groups that share the divider are resized. For example, suppose your workspace contains three panel groups stacked vertically. Do not press Shift. Press the tilde key again to return the panel to its original size. The pointer becomes a double-arrow. The pointer becomes a four-way arrow. Original group with resize icon B.

Resized groups. Even if a panel is open, it may be out of sight, beneath other panels. Choosing a panel from the Window menu opens it and brings it to the front. When you close a panel group in the application window, the other groups resize to make use of the newly available space. When you close a floating window, the panels within it close, too.

To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on the main monitor, and you place floating windows on the second monitor.

 


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Table of Contents. Use sample rate conversion presets. If you need to make the same conversion on multiple files, you can save time by using a adobe audition 3.0 manual free rate conversion preset. Click Save As, type a name for the preset, and click OK. After you create a preset, it читать больше in the preset list at the top of the читать box. To apply the preset to a file, select.

If you want to delete a preset, choose the preset from the list, and click Delete. Each time you start Adobe Audition, it keeps track of the edits you perform.

These changes are stored in a temporary. They aren't permanently applied to the file until you save and close it, giving you unlimited. The Undo command conveniently indicates which. For example, it may appear as Undo Delete or Undo Normalize.

If you haven't yet edited. If you forgot which editing action you last performed on a waveform, look at the Undo command to refresh your. You can repeat most commands. To repeat the last command without opening its dialog box, press the F3 key. Disable or enable the Adobe audition 3.0 manual free function. When you work with very adobe audition 3.0 manual free audio files, you might not have enough free disk space to save the Undo data before. In addition, the time required to save the Undo information might slow down your work.

You can solve either problem by disabling the Undo function. A check mark indicates that the Undo function is enabled. Select or deselect Enable Undo, and click OK. You can also. See "System preferences" on. If you посмотреть еще have enough disk space to save the undo information, you can change the Temp folder to a different drive. Previous Page. Next Page. Show quick links.

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