Operation Manual
Table Of Contents
- Contents
- Chapter 1: Getting started
- Chapter 2: Digital audio fundamentals
- Chapter 3: Workflow and workspace
- Chapter 4: Setting up Adobe Audition
- Chapter 5: Importing, recording, and playing audio
- Chapter 6: Editing audio files
- Displaying audio in Edit View
- Selecting audio
- Copying, cutting, pasting, and deleting audio
- Visually fading and changing amplitude
- Working with markers
- Creating and deleting silence
- Inverting and reversing audio
- Generating audio
- Analyzing phase, frequency, and amplitude
- Converting sample types
- Recovery and undo
- Chapter 7: Applying effects
- Chapter 8: Effects reference
- Amplitude and compression effects
- Delay and echo effects
- Filter and equalizer effects
- Modulation effects
- Restoration effects
- Reverb effects
- Special effects
- Stereo imagery effects
- Changing stereo imagery
- Binaural Auto-Panner effect (Edit View only)
- Center Channel Extractor effect
- Channel Mixer effect
- Doppler Shifter effect (Edit View only)
- Graphic Panner effect
- Pan/Expand effect (Edit View only)
- Stereo Expander effect
- Stereo Field Rotate VST effect
- Stereo Field Rotate process effect (Edit View only)
- Time and pitch manipulation effects
- Multitrack effects
- Chapter 9: Mixing multitrack sessions
- Chapter 10: Composing with MIDI
- Chapter 11: Loops
- Chapter 12: Working with video
- Chapter 13: Creating surround sound
- Chapter 14: Saving and exporting
- Saving and exporting files
- Audio file formats
- About audio file formats
- 64-bit doubles (RAW) (.dbl)
- 8-bit signed (.sam)
- A/mu-Law Wave (.wav)
- ACM Waveform (.wav)
- Amiga IFF-8SVX (.iff, .svx)
- Apple AIFF (.aif, .snd)
- ASCII Text Data (.txt)
- Audition Loop (.cel)
- Creative Sound Blaster (.voc)
- Dialogic ADPCM (.vox)
- DiamondWare Digitized (.dwd)
- DVI/IMA ADPCM (.wav)
- Microsoft ADPCM (.wav)
- mp3PRO (.mp3)
- NeXT/Sun (.au, .snd)
- Ogg Vorbis (.ogg)
- SampleVision (.smp)
- Spectral Bitmap Image (.bmp)
- Windows Media Audio (.wma)
- Windows PCM (.wav, .bwf)
- PCM Raw Data (.pcm, .raw)
- Video file formats
- Adding file information
- Chapter 15: Automating tasks
- Chapter 16: Building audio CDs
- Chapter 17: Keyboard shortcuts
- Chapter 18: Digital audio glossary
- Index

ADOBE AUDITION 3.0
User Guide
170
See also
“About process effects” on page 104
“Apply individual effects in Edit View” on page 107
“Use effect presets” on page 104
“Add preroll and postroll to effects previews” on page 107
Automatic options
The Automatic tab of the Pitch Correction dialog box provides the following options:
Reference Channel Specifieswhichchanneltouseforsourceaudio.ThePitchCorrectioneffectanalyzesandprofiles
just the periodic signal of the channel you choose, but it applies the pitch correction equally to both channels.
Calibration Specifies the standard pitch calibration for the source audio. In Western music, standard pitch
calibration is A4 = 440 Hz. Source audio, however, may have been recorded where the calibration was slightly
different. In this case, you can raise or lower the Hz value from 430 to 450.
FFT Size Sets the FFT (Fast Fourier Transform) size, or the size of the pieces of data that the effect processes. In
general, use smaller values for correcting higher frequencies. For voices, a setting of 2048 or 4096 sounds most
natural, and a setting of 1024 creates robotic effects.
Scale Specifies the scale type that best suits the material. You can choose from Major, Minor, or Chromatic.
Chromatic works best if only a slight correction is needed to “pull” the pitch of any tone to the closest chromatic note.
Major and Minor allow for larger corrections, such as where the source audio is more than a single half-step interval
off pitch from the desired musical scale.
Key Setsthekeyforthecorrectedmaterial.ThisoptionisavailableonlyifScaleissettoMajororMinor(sincethe
Chromatic scale includes all 12 tones and isn’t key-specific). Typically, the key is the same as the one intended for the
source audio.
Attack Governs how quickly Adobe Audition corrects the pitch toward the scale tone. Faster settings are usually best
for audio made up of short notes, such as a fast passage played by a trumpet. An extremely fast attack can also achieve
a robotic quality. Slower settings result in more natural-sounding correction on longer sustaining notes, such as a
vocallinewherethesingerholdsnotesandaddsvibrato.Becausesourcematerialcanchangethroughoutamusical
performance, you can get the most natural-sounding results by correcting short pieces (such as individual phrases)
at a time.
Sensitivity Defines a threshold beyond which a note isn’t corrected. Sensitivity is measured in cents, and there are
100 cents per semitone. For example, a Sensitivity value of 50 cents means a note must be within 50 cents (half a
semitone) of the target scale tone before it is corrected automatically.
Correction Meter Displays the correction as it occurs during preview, showing you when flat tones are raised and
sharp tones are lowered, and by how much.
Manual options
The Manual tab of the Pitch Correction dialog box provides the following options:
Reference Channel Specifieswhichchanneltouseforsourceaudio.ThePitchCorrectioneffectanalyzesandprofiles
just the periodic signal of the channel you choose, but it applies the pitch correction equally to both channels.
Calibration Specifies the standard pitch calibration for the source audio. In Western music, standard pitch
calibration is A3 = 440 Hz. Source audio, however, may have been recorded where the calibration was slightly
different. In this case, you can raise or lower the Hz value from 430 to 450.