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
175
Gain Processor Provides the following options:
• Output Gain Specifies the amount of gain (measured in decibels) added to the output signal.
• Attack Time Determines how long the processed output signal takes to reach the specified output volume. For
example, if a portion suddenly drops 30 dB, it takes time specified before the output drops to its corresponding
volume level. If the sum of the Attack and Release times is too short (less than 20 milliseconds total), audible effects,
such as a vibrating sound, occur at around 1000 Hz/milliseconds total. For example, if the Attack and Release times
are each set to 5 milliseconds (10 milliseconds total), then a vibrating sound occurs at 100 Hz. A total of 30 milli-
seconds is about as low as you can go without introducing these effects.
• Release Time Determines how long the previous output level takes to reach the specified output volume. For
example,wheretheAttackTimeishowlongthestartofapulsetakestoreachthedesiredoutputvolume,theRelease
Time is how long the end of the pulse takes to reach the desired level.
• Joint Channels Uses both channels to find a single input decibel value and amplifies both channels by the same
amount, preserving the stereo center-channel image. With stereo files, each channel can be compressed indepen-
dently, sometimes causing the surrounding background noise to get louder on one channel. For example, a loud
drumbeat in the left channel makes the background noise in the right channel louder than in the left.
Level Detector Provides the following options:
• Input Gain Specifies the amount of gain (measured in decibels) added to the signal before it goes into the Level
Detector (the section that detects the current level). The input gain essentially moves the graph plot up or down.
• Attack Time Determines how long the processed output signal takes to reach the specified output volume. For
example, if a portion suddenly drops 30 dB, it takes time specified before the output drops to its corresponding
volume level. If the sum of the Attack and Release times is too short (less than 20 milliseconds total), audible effects,
such as a vibrating sound, occur at around 1000 Hz/milliseconds total. For example, if the Attack and Release times
are each set to 5 milliseconds (10 milliseconds total), then a vibrating sound occurs at 100 Hz. A total of 30 milli-
seconds is about as low as you can go without introducing these effects.
• Release Time Determines how long the previous output level takes to reach the specified output volume. For
example,wheretheAttackTimeishowlongthestartofapulsetakestoreachthedesiredoutputvolume,theRelease
Time is how long the end of the pulse takes to reach the desired level.
• Peak Is a mode provided for backward compatibility. It is a graph interpretation method that is slightly outdated
and a bit more difficult to use than RMS. It is equivalent to twice the RMS value (for example, -20 dB in RMS mode
equals -40 dB in Peak mode).
• RMS Is a graph interpretation method that more closely matches the way people hear volume. This mode causes
the output to be exactly the RMS amplitude that is specified in the graph. For example, a limiter (flat horizontal line)
at -10 dB causes the RMS amplitude of the result to average -10 dB (where 0 dB is a maximum amplitude sine wave
without clipping).
Low Cutoff Specifies the lowest frequency that dynamics processing affects.
High Cutoff Specifies the highest frequency that dynamics processing affects.
Lookahead Time Helps to handle sharp spikes that might occur at the onset of a louder signal by starting the attack
the specified number of milliseconds before the audio becomes loud, instead of right on top of the transient. The
spikes occur because of the time needed to determine and react to the current signal level (as determined by the
attack values). For brief moments, these transients can go beyond the limits of the compressor settings. You might
want these spikes in certain compression scenarios to enhance the impact of, say, a drum hit, but they aren’t desirable
if you’re using limiting to reduce the maximum amplitude. Otherwise, with Lookahead Time set to 0, a spike stays
loud until all of the attack times elapse.