Basic of Digital Audio

Содержание

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2- Basic of Sound 2.1 Basic of Digital Audio Sound: a

2-

Basic of Sound

2.1 Basic of Digital Audio

Sound: a travelling wave that

is an oscillation of pressure transmitted through a solid, liquid, or air, composed of frequencies within the range of hearing.
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How sound waves interact When two or more sound waves meet,

How sound waves interact

When two or more sound waves meet, they

add to and subtract from each other.
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2- Speech Signal Frequency:300Hz-3kHz Sound Frequency

2-

Speech Signal Frequency:300Hz-3kHz

Sound Frequency

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Audio signals Analog Signal: an electrical representation of sound originated by

Audio signals
Analog Signal: an electrical representation of sound originated by microphone,

tape head. Loudspeakers or headphones convert an electrical audio signal into sound.
Digital Signal: a discrete-time signal for which not only the time but also the amplitude has discrete values

2.2 Audio Digitalization

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Lifecycle of sound in Multimedia System

Lifecycle of sound in Multimedia System

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Procedure of audio digitalization conversion to a stream of numbers, and

Procedure of audio digitalization

conversion to a stream of numbers, and preferably

these numbers should be integers for efficiency.
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Procedure of audio digitalization Illustration Sampling means dividing continuous time into

Procedure of audio digitalization

Illustration

Sampling means dividing continuous time into discrete time


Quantization means measuring the amplitude at fixed interval
Coding means forming a digital sequence in accordance with certain rules

Quantization

Coding: 10100100…1110001000

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Understanding sample rate Sample rate indicates the number of digital snapshots

Understanding 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 the original analog waveform.
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2- To reproduce a given frequency, the sample rate must be

2-

To reproduce a given frequency, the sample rate must be at

least twice that frequency. For example, CDs have a sample rate of 44,100 samples per second, so they can reproduce frequencies up to 22,050 Hz, which is just beyond the limit of human hearing, 20,000 Hz.

Understanding sample rate

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Understanding bit depth When a sound wave is sampled, each sample

Understanding bit depth

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.
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dB(Decibel) dB is commonly used in acoustics as a unit of

dB(Decibel)

dB is commonly used in acoustics as a unit of

sound volume. 0dB is the quietest sound our ear can hear, 120dB will cause permanent damage to our ear.
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dBFS(dB relative to full scale) dBFS(dB relative to full scale) is

dBFS(dB relative to full scale)

dBFS(dB relative to full scale) is

a unit of measurement for amplitude levels in digital systems. The level of 0 dBFS is assigned to the maximum possible digital level.
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2- Data Size =Sample Rate×Bit Size×#Channel/8(Byte/s) Affects of Data Size

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Data Size =Sample Rate×Bit Size×#Channel/8(Byte/s)

Affects of Data Size


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2- An audio file format is a file format for storing

2-

An audio file format is a file format for storing digital

audio data on a computer system.
An audio file usually contains a header indicating sample rate, bit depth etc(metadata), and then a large number of digital audio data.

2.3 Audio File Format

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2- The bit layout of the audio data (excluding metadata) is

2-

The bit layout of the audio data (excluding metadata) is called

the audio coding format and can be uncompressed.
It is important to distinguish between audio file(container) format and audio coding format.
A coding format and a file format are usually defined in one compression standard, so most audio file formats support only one type of audio

Format types

(Audio File Format)

Audio File

(Audio Coding Format)

Audio Data

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2- *.WAV Standard audio file container format used mainly in Windows

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*.WAV Standard audio file container format used mainly in Windows PCs.

Commonly used for storing uncompressed (PCM), CD-quality sound files (large in size). (see music.wav)
*.MP3 Defined in MPEG-1 Audio Layer-3. It is the most common sound file format used today.(Not to be confused with MPEG-3.)
*.AAC Part of MPEG-2 and MPEG-4. Designed to be the successor of the MP3 format. Default file format for YouTube, iPhone, iPod, iPad, iTunes etc.
*.WMA(Windows Media Audio) owned by Microsoft. Designed with Digital Rights Management (DRM) abilities for copy protection.
*.OGG A patent-free, open source container format supporting a variety of coding format
*.APE For a lossless audio compression format. Take up several times as much space as lossy compression formats. (see CDImage.ape)

Typical Audio File Formats

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DRM Dataflow Diagram

DRM Dataflow Diagram

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2- Audio Acquisition i) Sound Recorder Software(eg. Sound Recorder in Win

2-

Audio Acquisition

i) Sound Recorder Software(eg. Sound Recorder in Win 7)
ii)

Recording Studio
iii) Audio CD, Audio Tape(eg. Window Media Player>Ripping)
iv) Digital Audio Library

Audio Processing

i) Audio Edition, Mixing
ii) Noise Reduction
iii) Modulation, Delay, Echo Effects

2.4 Digital Audio Acquisition and Processing

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2- 2.5 Digital Audio Compression Standards Introduction to Digital Audio Compression

2-

2.5 Digital Audio Compression Standards

Introduction to Digital Audio Compression

Compression Encoding: the

process of encoding information using fewer bits than the original representation would use.

Audio compression relies on the facts:
Information Redundancy in Sound.
Human auditory system is not accurate within the width of a critical band (perceived loudness and audibility of a frequency).

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2- Lossless Compression less space without losing any information. compression ratio

2-

Lossless Compression
less space without losing any information.
compression ratio of about 2:1
Lossy

Compression
greater reductions in file size
reduction in audio quality
most standards offer a range of degrees of compression, generally measured in bit rate

Categories of Audio Compression Standards

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2- Audio Compression Standards

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Audio Compression Standards

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2- Comparison between common audio formats

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Comparison between common audio formats

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2- 1993, MPEG-1 Audio Layer III a digital audio coding format

2-

1993, MPEG-1 Audio Layer III
a digital audio coding format which uses

a form of lossy data compression
more commonly referred to as MP3
designed by the Moving Picture Experts Group (MPEG) as part of its MPEG-1 standard and later extended in the MPEG-2 standard.
Compared to CD quality digital audio(44kKz, 16bit), MP3 compression commonly achieves 75 to 95% reduction in size.
CD:1.4Mb/s, MP3:128Kb/s

MP3

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2- 2.6 Sound Card and Electroacoustic Equipment Sound Card An internal

2-

2.6 Sound Card and Electroacoustic Equipment

Sound Card
An internal expansion card that

facilitates input and output of audio signals to and from a computer under control of computer programs..
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2- Integrated sound hardware on PC motherboards In the late 1990s

2-

Integrated sound hardware on PC motherboards

In the late 1990s many computer

manufacturers began to replace plug-in soundcards with a "codec" chip integrated into the motherboard.
The integrated sound system is often still referred to as a "sound card".
The best plug-in cards, which use better and more expensive components, can achieve higher quality than integrated sound.
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2- Architecture of Sound Card Mixer receives inputs from both external

2-

Architecture of Sound Card

Mixer receives inputs from both external connectors and

D/A. It selects or mutes, amplifies these signals, adds them together, and finally routes the result to both external output connectors and A/D. (see Mixer in Win7)
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2- Audio Codec A single chip in soundcard encodes analog audio

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Audio Codec

A single chip in soundcard
encodes analog audio as digital signals

and decodes digital back into analog.
compress and decompress digital audio data according to a given audio coding format. (may used by audio processing software and multimedia players)
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2- Device Driver A low-level program that controls a device attached

2-

Device Driver

A low-level program that controls a device attached to a

computer.
Provides a software interface to hardware devices, enable operating systems to access hardware functions without needing to know details of the hardware being used.

The main purpose of Device drivers is to provide abstraction by acting as translator between a hardware device and the operating systems that use it

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2- General Characteristics It can be used in multimedia applications such

2-

General Characteristics

It can be used in multimedia applications such as music

composition, audio editing, presentation, education, entertainment (games) , etc

i) Recording, editing, and playback of digital audio file.
ii) Controlling and mixing sounds from different sources.
iii) Compression and decompression in recording and playback.
iv) Music Synthesis.
v) Support MIDI interface.

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2- Example Enjoy multi-channel cinematic sound Many sound cards come with

2-

Example

Enjoy multi-channel cinematic sound
Many sound cards come with 5.1 channel outputs

so you can connect to your existing multi-channel speakers with ease.
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2- Example Independent input sources Many sound cards come with independent

2-

Example

Independent input sources
Many sound cards come with independent line-in and microphone

connectors, which allow you to plug in two different audio sources to your PC.
You can plug in your MP3 player and sing along, while recording your singing session for your friends to enjoy!
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2- Example Control and customize your audio Many sound cards come

2-

Example

Control and customize your audio
Many sound cards come with audio processing

software, which is designed to bring cinematic difference to home theatre PCs! You can also adjust the level of immersion you like, simply by adjusting the sliders on Control Panel.
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2- Audio Performance Sample Rate: 11.025 kHz (Speech) 22.05 kHz (Music)

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Audio Performance
Sample Rate:
11.025 kHz (Speech) 22.05 kHz (Music) 44.1

kHz (Hi-Fi)
Bit Size:
8 bits/256 (Speech) 16 bits/65 536 (Hi-Fi)
SNR(Signal-to-noise ratio):>80db

Quality Parameters

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2- Connectivity Input:line in jack, microphone in jack Output: headphone, mono,

2-

Connectivity
Input:line in jack, microphone in jack
Output: headphone, mono, 2

channels(Stereo)、2.1/4.1/5.1 Channels (Surround)

Quality Parameters

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2- Processor CODEC (Dependent of CPU, Cheap) DSP(Independent of CPU) Quality Parameters

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Processor
CODEC (Dependent of CPU, Cheap)
DSP(Independent of CPU)

Quality Parameters

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2- What is MIDI? MIDI (Musical Instrument Digital Interface): a technology

2-

What is MIDI?
MIDI (Musical Instrument Digital Interface): a technology to synthesize

music using electronic equipment.
MIDI Standards
An industry-standard that enables electronic musical instruments, computers and other electronic equipment to communicate and synchronize with each other.

2.7 Electric Music and MIDI

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2- There are actually three components in MIDI standard, which are

2-

There are actually three components in MIDI standard, which are the

communications Protocol (language), the Connector (hardware interface) and a distribution format called Standard MIDI Files.

MIDI Working Progress

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2- The MIDI protocol is an entire music description language in

2-

The MIDI protocol is an entire music description language in binary

form like CPU machine language instructions for musical instruments. .
MIDI language carries event messages that specify notation, pitch and velocity, control signals for parameters such as volume, vibrato, and etc.

MIDI Protocol (language)

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2- MIDI connector is a 5-pin DIN connector used to send

2-

MIDI connector is a 5-pin DIN connector used to send MIDI

messages .
A single MIDI link can carry up to sixteen channels of information, each of which can be routed to a separate device. So MIDI allows multiple instruments to be played from a single controller which makes stage setups much more portable.  

MIDI Connector

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2- When MIDI messages are stored on disks, they are commonly

2-

When MIDI messages are stored on disks, they are commonly saved

in the Standard MIDI file format.
MIDI file does not contain the actual sound, but only commands(like musical notation) to make the sounds, so it use a thousand times less disk space than the equivalent recorded audio.

MIDI File

Example: midi_sample.mid

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2- Sequencer is the key component for MIDI music creation. A

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Sequencer is the key component for MIDI music creation.
A MIDI Sequencer

(or simply sequencer) is a device or application software that can record, edit, or play back music, by handling note and performance information in MIDI

MIDI Sequencer

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2- Example Drum sample 1 Drum sample 2 Bass sample 1

2-

Example

Drum sample 1

Drum sample 2

Bass sample 1

Bass sample 2

A combination of

the previous four files, with piano, jazz guitar, a hi-hat and four extra measures added to complete the short song, in A minor

MIDI is easy for modification and manipulation

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2- Audio Processing Software (formerly Cool Edit Pro) Audio Editing Audio

2-

Audio Processing Software
(formerly Cool Edit Pro)
Audio Editing
Audio Effects
Multitrack Processing
Burning Audio

CD

2.8 Adobe Audition

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History 1990s, Syntrillium Software, Cool Edit, 2003, Adobe purchased Cool Edit

History

1990s, Syntrillium Software, Cool Edit,
2003, Adobe purchased Cool Edit Pro, Adobe

Audition 1
2006, 2007 Adobe Audition 2, 3
2011, 2012 Adobe Audition 4, 5(CS5.5, CS6 as part of Adobe Creative Suite)
2013, 2014, 2015 Adobe Audition 6, 7, 8(CC, CC2014, CC2015)
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Creative Cloud With the introduction of Creative Cloud branding, Adobe's licensing

Creative Cloud

With the introduction of Creative Cloud branding, Adobe's licensing scheme

was changed to that of software as a service and the "CS" suffixes were replaced with "CC".
Adobe Creative Cloud allows licensed users to download, install, and update apps. You can also sync files and fonts, and showcase and discover creative work in community.
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Download and install apps Sync files and folders Add fonts Search

Download and install apps
Sync files and folders
Add fonts

Search for assets

on Creative Cloud Market
Share and discover work in community

Creative Cloud for desktop

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2- Workspace A View buttons and toolbar B Editor panel with

2-

Workspace

A View buttons and toolbar B Editor panel with zoom navigator

at top C Various other panels D Status bar
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2- Waveform and Multitrack Editors To edit individual files, use the

2-

Waveform and Multitrack Editors
To edit individual files, use the Waveform Editor.

To mix multiple files and integrate them with video, use the Multitrack Editor.
The Waveform and Multitrack editors use different editing methods, and each has unique advantages.

Workspace

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2- Workspace A Navigator B Timeline Ruler C Waveform Display D

2-

Workspace

A Navigator B Timeline Ruler C Waveform Display D Spectral Display
E

Zoom Button F Current-Time Indicator/Display G Play Buttons

A

B

C

D

E

G

F

F

Waveform Editor Panel

Waveform Editor Panel

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2- Waveform Display Quiet audio has both lower peaks and lower

2-

Waveform Display
Quiet audio has both lower peaks and lower valleys than

loud audio.
Channels can be viewed as layered or uniquely colored.
View > Waveform Channels

Workspace

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Spectral Display This view lets you analyze audio data to see

Spectral Display
This view lets you analyze audio data to see which

frequencies are most prevalent. Brighter colors represent greater amplitude components. Colors range from dark blue (low-amplitude frequencies) to bright yellow (high-amplitude frequencies).
The spectral display is perfect for removing unwanted sounds, such as coughs and other artifacts.

Workspace

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2- Zoom audio Zoom into a specific time range In either

2-

Zoom audio
Zoom into a specific time range
In either the zoom navigator

or the timeline ruler, right-click and drag
Extend or shorten the displayed range
Drag the left or right edge of the highlighted area in the zoom navigator
Using zoom button in the Editor panel

Workspace

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2- Workspace Navigating time and playing audio Navigate by scrolling Navigate

2-

Workspace

Navigating time and playing audio
Navigate by scrolling
Navigate with the Selection/View panel
Current-time

indicator(CTI) lets you start playback or recording at a specific point
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2- Importing, recording, and playing Connecting to audio hardware Configure audio

2-

Importing, recording, and playing

Connecting to audio hardware
Configure audio inputs and outputs
Choose

Edit > Preferences > Audio Hardware
From the Device Class menu, choose the driver(eg. for the sound card)
Choose a Default Input and Output
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2- Importing, recording, and playing Creating and opening files Create a

2-

Importing, recording, and playing

Creating and opening files
Create a new, blank audio

file
Open existing audio files
Append audio files to another
Extracting audio from CDs
Importing with the Files panel
The Files panel displays a list of audio files for easy access
Import files into the Files panel
Change displayed metadata in the Files panel
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2- Importing, recording, and playing Recording audio You can record audio

2-

Importing, recording, and playing

Recording audio
You can record audio from a microphone

or any device you can plug into the Line In port of a sound card.
Set audio inputs
Create or open a file
Click the Record button to start and stop recording

NB. When recording in noisy environments, record a few seconds of representative background noise that can be used as a noise print later on.

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2- Importing, recording, and playing Monitoring recording and playback levels To

2-

Importing, recording, and playing

Monitoring recording and playback levels
To monitor the amplitude

of incoming and outgoing signals during recording and playback, we use level meters.
If amplitude is too low, sound quality is reduced; if amplitude is too high, clipping occurs and produces distortion.
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2- Importing, recording, and playing Adjust recording levels for recording device

2-

Importing, recording, and playing

Adjust recording levels for recording device
Adjust levels

if recordings are too quiet (causing unwanted noise) or too loud (causing distortion).
To get the best sounding results, record audio as loud as possible without clipping.
When setting recording levels, watch the meters, and try to keep the loudest peaks in the yellow range below -3 dB
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Editing Audio Selecting audio for playing, copying, cutting, (mix)pasting, and deleting

Editing Audio

Selecting audio for playing, copying, cutting, (mix)pasting, and deleting
Select

time ranges using Time Selection tool

Select spectral ranges using free-form selection tools

A Marquee
B Lasso
C Paintbrush

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Editing Audio Remove artifacts automatically For the quickest repair of small,

Editing Audio

Remove artifacts automatically
For the quickest repair of small, individual

audio artifacts like isolated clicks or pops, use the Spot Healing Brush .

A Before
B After

Example: coughinmusic.wav

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Editing Audio Adjust amplitude using amplitude control By default, the visual

Editing Audio

Adjust amplitude using amplitude control
By default, the visual amplitude

control appears in a heads-up display (HUD) that floats over all waveforms

Example: tooquite.wav

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Editing Audio History Panel The History panel lets you instantly revert back to any previous change.

Editing Audio

History Panel
The History panel lets you instantly revert back

to any previous change.
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Editing Audio EDIT>Converting sample types Convert the sample rate of a

Editing Audio

EDIT>Converting sample types
Convert the sample rate of a file
Convert

a waveform between surround, stereo, and mono
Change the bit depth of a file
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Exercise1 of Edit Audio Steps Open ex1File1 and ex1File2 Find and

Exercise1 of Edit Audio

Steps
Open ex1File1 and ex1File2
Find and Copy “did” in

ex1File2
Paste on ex1File1
Delete “Monday” in ex1File1
Find and Copy “Saturday” in ex1File2
Paste on ex1File1
Save as ex1File3

ex1File1: “I finished my work on Monday”

ex1File3: “I did finished my work on Saturday”

ex1File2: “I did not do my work on Saturday”

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Editing Audio Working with markers using mark panel Markers (sometimes called

Editing Audio

Working with markers using mark panel
Markers (sometimes called cues)

are locations that you define in a waveform. A marker can be either a point or a range
Either press the M key, or click the Add Marker button in the Markers panel.
Double-click a marker in the Markers panel to move the current-time indicator to that marker and select the area for range markers.

A Marker point
B Marker range

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Editing Audio Playlists A playlist is an arrangement of marker ranges

Editing Audio

Playlists
A playlist is an arrangement of marker ranges

that you can play back in any order. A playlist lets you try different versions of an arrangement before you commit to edits.
Create a playlist
Drag the range markers to the Playlist panel
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Applying Effects Apply individual effects From any submenu in the Effects

Applying Effects

Apply individual effects
From any submenu in the Effects menu,

choose an effect.
Click the Preview button , and then edit settings as needed.
To compare original audio to processed audio, select and deselect the Power button .
To apply the changes to the audio data, click Apply.

Example:
Convolution reverb

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Applying Effects Apply groups of effects The Effects Rack lets you

Applying Effects

Apply groups of effects
The Effects Rack lets you insert, edit,

and reorder up to 16 effects, optimize input, output and mix levels.

A Rack Preset controls
B Effect slots
C Level controls
D Main Power button

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Applying Effects About process effects These processing-intensive effects can be applied

Applying Effects

About process effects
These processing-intensive effects can be applied only individually,

so they aren’t accessible in the Effects Rack.
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Applying Effects Use effect presets Many effects provide presets that let

Applying Effects

Use effect presets
Many effects provide presets that let you store

and recall favorite settings. In addition to effect-specific presets, the Effects Rack provides rack presets that store groups of effects and settings.
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Applying Effects Generate a simple waveform Choose Effects > Generate >

Applying Effects

Generate a simple waveform
Choose Effects > Generate > Tones

to create a simple waveform using several amplitude- and frequency-related settings.
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Applying Effects Generate Noise Generating noise is useful for creating soothing

Applying Effects

Generate Noise
Generating noise is useful for creating soothing sounds like

waterfalls and for generating signals that can be used to check out the frequency response of a speaker, microphone, or other audiosystem component.
Place the cursor where you want to insert the noise. Or, if you want to replace part of the existing waveform, select the desired range of audio data.
Choose Effects > Generate > Noise.
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Applying Effects Reverb effects In a room, sound bounces off the

Applying Effects

Reverb effects
In a room, sound bounces off the walls, ceiling,

and floor on the way to your ears as a sonic surrounding that creates an impression of space. This reflected sound is called reverb. Reverb effects can be used to simulate a variety of room environments.
Impulse Specifies a file that simulates an acoustic space.
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Applying Effects Background Noise Reduction The Noise Reduction effect dramatically reduces

Applying Effects

Background Noise Reduction
The Noise Reduction effect dramatically reduces background and

broadband noise with a minimal reduction in signal quality. This effect can remove a combination of noise, including tape hiss, microphone background noise, power-line hum, or any noise that is constant throughout a waveform.
In the Waveform Editor, select a range that contains only noise and is at least half a second long.
Effects > Noise Reduction/Restoration > Capture Noise Print.
In the Editor panel, select the range from which you want to remove noise.
Choose Effects > Noise Reduction/Restoration > Noise Reduction.
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Exercise3 of Noise Reduction Steps Create audio file Record “I finished

Exercise3 of Noise Reduction

Steps
Create audio file
Record “I finished my work on

Monday”
Mix with noise
Open ex2.wav
Select a range that contains only noise and is at least half a second long.
Effects > Noise Reduction/Restoration > Capture Noise Print.
Select the range from which you want to remove noise.
Choose Effects > Noise Reduction/Restoration > Noise Reduction

“I finished my work on Monday”

+

Noise

Ex2.wav

“I finished my work on Monday”

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2- Mixing multitrack sessions The Multitrack Editor can mix together multiple

2-

Mixing multitrack sessions

The Multitrack Editor can mix together multiple audio tracks

to create layered soundtracks and elaborate musical compositions. You can record and mix unlimited tracks, and each track can contain as many clips as you.
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2- Mixing multitrack sessions Create a new multitrack session Template: specify

2-

Mixing multitrack sessions

Create a new multitrack session
Template: specify source files and

settings such as Sample Rate and Bit Depth.
Sample Rate: must shared by all files added to a session
Bit Depth: cannot be changed after a session is created
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2- Mixing multitrack sessions Insert an audio file into a track

2-

Mixing multitrack sessions

Insert an audio file into a track
Place CTI at

the desired time position in a track.
Choose Multitrack > Insert File.
The inserted file becomes an audio clip on the selected track.
Record an audio clip on multiple tracks by overdubbing
Click the Arm For Record buttons for the tracks,
Click the Record button to start and stop recording.
Each recording becomes a new audio clip on a track.
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2- Mixing multitrack sessions Session (*.sesx) files Adobe Audition save multitrack

2-

Mixing multitrack sessions

Session (*.sesx) files
Adobe Audition save multitrack sessions in session

(.sesx) files which contain no audio data themselves. A session file is a small XML-based file which keeps track of which files are a part of the session, where they are inserted, which envelopes and effects are applied, and so on.

Untitled Session 6.sesx Track 1

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2- Mixing multitrack sessions A Track controls B Zoom navigator C

2-

Mixing multitrack sessions

A Track controls B Zoom navigator C Vertical scroll

bar D Track

Multitrack Editor

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2- Mixing multitrack sessions Arranging and editing tracks Add or delete

2-

Mixing multitrack sessions

Arranging and editing tracks
Add or delete tracks
Name tracks
Move tracks
Mute

and solo tracks
Set track output volume
….
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2- Mixing multitrack sessions Editing multitrack clips Move a clip Copy

2-

Mixing multitrack sessions

Editing multitrack clips
Move a clip
Copy a clip
Remove a selected

range from clips
Trimming and extending clips
position the cursor over the left or right edge of the clip and drag clip edges
Split clips
….
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2- Mixing multitrack sessions Export multitrack mixdown files After you finish

2-

Mixing multitrack sessions

Export multitrack mixdown files
After you finish mixing a session,

you can export all or part of it in a variety of common formats.
Choose File > Export > Multitrack Mixdown.
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Exercise 4 of Sound Remove Steps Mix cough with music in

Exercise 4 of Sound Remove

Steps
Mix cough with music in multitrack
Remove

cough using Sound Remove effect
Refine your work using Spot Healing Bush tool
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2- Multitrack routing Buses, sends, and the Master track let you

2-

Multitrack routing

Buses, sends, and the Master track let you route multiple

track outputs to one set of controls. With these combined controls, you can efficiently organize and mix a session.
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2- Mixing multitrack sessions Audio tracks Audio tracks contain either imported

2-

Mixing multitrack sessions

Audio tracks
Audio tracks contain either imported audio or

clips recorded in the current session. These tracks offer the widest range of controls, letting you specify inputs and outputs, apply effects and equalization, route audio to sends and buses, and automate mixes.
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2- Mixing multitrack sessions Assign audio inputs and outputs to tracks

2-

Mixing multitrack sessions

Assign audio inputs and outputs to tracks
In the Inputs/Outputs

area of the Editor panel, do the following:
From the Input menu, choose a hardware input.
From the Output menu, choose a bus, the Master track, or a hardware output.
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2- Mixing multitrack sessions Bus tracks With bus tracks, you can

2-

Mixing multitrack sessions

Bus tracks
With bus tracks, you can combine the

outputs of several audio tracks or sends and control them collectively. For example, to control the volume of multiple drum tracks with a single fader, or, to optimize system performance, apply a single reverb effect to a bus track.

A Drum kit bus
B Hand drum bus
C Combined drums bus outputting to either the Master track or hardware

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2- Mixing multitrack sessions Sends Sends let you route audio from

2-

Mixing multitrack sessions

Sends
Sends let you route audio from a track

to multiple buses, creating tremendous signal-routing flexibility. Each track provides up to 16 sends in the Send area , which you configure independently from the track output.

A Send 1 outputs to delay bus
B Send 2 outputs to reverb bus
C Master track combines vocal, guitar, delay, and reverb outputs

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2- Mixing multitrack sessions Master track The Master track , which

2-

Mixing multitrack sessions

Master track
The Master track , which is the

last in each session, lets you easily combine the outputs of multiple tracks and buses and control them with a single fader. A session always contains one Master track. The Master track can’t directly connect to audio inputs, or output to sends or buses; it can only output directly to hardware ports.
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Exercise 5 of Multitrack routing Ex4.mp3 Clip1 Clip2 Clip3 Clip4 Bus

Exercise 5 of Multitrack routing

Ex4.mp3

Clip1

Clip2

Clip3

Clip4

Bus A

Master

Bus B

reverb

delay