The Complete Adobe Audition CC Course for Recording, Editing, and Mastering Audio!

1. Welcome to the Complete Adobe Audition CC Course!: you are about to experience the complete adobe addition course where we will show you how to master Adobe Audition. I'm Jerry baffled your instructor. Here's my experience and what you can do with Adobe. Addition, I've published 74 songs on iTunes, Spotify and other Place. You listen to music as Jerry Bamfield. I've used Adobe Addition to get some of my vocals recorded and edited for use in my music. I've got a podcast with 1000 99 episodes I've used Adobe Addition to record Edit Master My podcast and the first thing I started using Adobe Addition for was to record at it. Master my audiobooks. I've been using Adobe Addition for several years. I've got 14 audiobooks, and that is what originally attracted me to work with the Dhobi addition because the other editing programs I was using did not have the depth of features available on Adobe Addition . If you want to make professional sounding audio, if you want to level up your sound engineer skills, if you want to be able to make a podcast, that sounds absolutely amazing. If you want to narrate audio books, which is a very lucrative opportunity given most books are not on audio, and there's lots of sales to be made. I'm here to help you do this and much more in this complete adobe addition. Course. I appreciate the chance to serve you today, and I hope you love and enjoy this complete adobe addition course. 2. Your Class Project is to Produce an Audio File and Share It With Us!: thank you very much for starting the complete adobe addition course on skill share. Your class project for this course is to make an audio file and share what you've done with us in the class project. This way you actually apply the skills you learn here for creating, editing and mastering audio in adobe addition. And you help us experience your creation. If you're making a podcast, use what you've learned in this course to make a podcast episode. Rather is to create it or edited and or master it and tell us what you've done in the class project. For example, if you've already been making a podcast and you make another episode, tell us what changes you made as a result of watching this course this way, you are helping to teach the course and that you are applying the principles and skills you learn in the course to your own audio creation, allowing you to become much better creating, editing and mastering audio and adobe addition. I'm so excited to start this course with you, and I'm looking forward to seeing your class project on skill share 3. Adobe Audition Interface for Beginners: Are you ready to learn and understand the basic interface in adobe addition, This will help you navigate your way around, figure out what you're doing and what each of the panels are. For an adobe addition, you can set your interface to different windows based on what you want using this bar in the upper right. If you click on default, it will organize it this way with the editor behind you, your files and media browser and history. Over here, I don't usually use that one. You can click edit audio to video or you can click radio production. If you want this metadata, the one I usually use is called simple editing. Simple editing has the effects rack off to the left. It has the files up here on the upper left. It has some more panels in the lower left and a match loudness in the right. And the main editor here, you can also try. If you want mastering and analysis, you can bring up some more of these windows. If you got a dual monitor, you can pull up a second monitor and split it up over there. I think simple editing will be enough getting started to help you find your way around. And that's while explain the simple editing interface. The first part of this interfaces in wave form. That's for editing one individual audiophile. There's also the multi track option. If you click on multi track and click to start a new session, you'll see that this interface changes a lot over here. This is the multi track interface now on the right. This is where you can put many different wave forms. This is ideal if you're making ah, podcast with multiple narrators or if you want to put sponsors sound effects. If you're making music deejay drops if you want to put anything more than just your own voice. Recording the multi track session is a very good way to do that. If you want to work with individual files, I just clicked there on wave form. This allows you to work with individual files, and you can see a list of each file over here that you can work with along with your total multi track session. This means if I record several individual files, for example, if I record and add to start my podcast if I record an intro to the podcast. I can drag each one of those files into various parts of the multi track interface over here. If you're just narrating something by yourself, stick in the wave form interface. If you want something more complicated, go back and forth between that and the multi track the button to navigate. It is directly up here. I'll show you how to record some basic audio on the way former editor, and then drag that into the multi track. After we talk about the effects rack. The effects rack down here is where you put on any plug ins you want to do like a compressor, a limiter, a noise gate, di essere. You can put all those plug ins right on the effects rack and then apply them to your individual wave foul or on the multi track session. You can imply these to an entire track, which is a lot nicer than going through and putting them on every single individual file. When you're ready to save, you can use the window over here for files, and you can save individual sessions. You can go up to file and export files. You can click on Save as What you'll need to be aware of is that when you're working in drag a file, you just take a file from your finder or your folders window on Dragon. Into here, you're working with the file itself. You want to make sure to keep your original audio files intact in case you mess anything up editing them. Therefore, I suggest make a copy of any of the files you want to work with. Then you can play around and save the files. However you want to without worrying about messing with the originals that keeps you safe from making any big mistakes. When you're ready to record, you can just hit the record button. The shortcut for it is shift space. I had shifts space in the wave form view. Now I'm recording in the wave form view I hit Stop, which I can also do with space. Now I've got seven seconds of audio recorded. If I'm using this in the multi track, I can take my file over in the files window, drag it over here and put it Now it is in this part of the multi track. Let's say I want to record another file directly into the multi track. What I need to do is set up the multi track to record. It's much easier if you just record directly in the wave form. If you go over here, can hit file new audio, file new audio file, then record straight into the new audio file. Talked out, blah, blah, blah, blah, blah. Stop. Go back over to the multi track and now you go back to files. You noticed I clicked accidentally over on markers. You want to work slow in the center face at first because of you, click something like this and you move it over on a panel. You might suddenly get confused. Make sure each one of these little three button columns over here for menu is a panel. You can close panels you can undock or doc panels, and that means view. Click one. It'll hide whatever interface you were working in before and pull the new one up. For example, if you click diagnostics over here, click on properties or click out effects rack. All of those will look different in the panels. This allows you to have depth in your work face and you want to think of it mentally as these air kind of stacked on top of each other. And if you click one, you'll put that one on top. When I'm ready to move this file over that I just recorded into the multi track, I can drag it over and put it in the same track. I can put it in another track and they'll play at the same time. When you click on playing multi track, they all play back at the same time. When you apply effects and multi track, it'll apply to every file on the track. You can put tracks on a master. You consume the tracks in and out to sea where they're going, and I'll talk much more about the multi track and detail in the future. What you need to know first on the multi track is it will not record unless you actually get it on an input. You will need to first select an input over here. Then you will need to hit record. If you wanted to record directly into the multi track instead of recording into an individual wave form. To begin with, it's much easier to do wave form, drag it into a multi track because you don't have to keep that in mind. However, you can record directly into the multi track these buttons. I wondered what these were the first time I used them. This is the mute button if you want to mute a certain track. For example, if I hit mute on here, you'll notice it's playing. It's not making any noise like now I'm record. I start talking and mute again. Solo mutes. If this second at button here, second letter is S that solos. That means if you hit solo, it'll quiet all the other tracks. It's like mute everything except this track. Then the R button hits record. The R button will not be available until you select one of your input sources. You can put it in mono. If you've got a model microphone, you could put it in stereo. If you've got a stereo microphone, you can click on audio hardware. Also, you can put it back to none, and then you won't be able to record on that. I've given you a basic look at the interface in Adobe Addition Now help you get comfortable and help you get started successfully mastering editing and creating audio within adobe addition 4. Starting New Audio Files, Multitrack Sessions, and Saving Projects: Here's how you can start a new project in Adobe Addition. In Adobe Addition, there's two different types of projects. There's just a wave form or an individual audiophile. If you click on a wave form when you've just opened the interface, it'll pop up this request to make a new audio file. If you click on multi track, this will pop up a multi track session. The wave form is just an individual audiophile. While the multi track is a collection of tracks you can put many different audio files in and effects on. If you would just want to do something simple, like narrate and audiobook, where it's just you talking and there's no other characters of sound effects that you want to bring in and you're comfortable doing it all in one file, that's easier if you want to do something like a podcast with intros. Outro posts effects with another voice than you want to use a multi track session to begin with, we'll just create a wave form. I usually do it by default for audio with a file name relevant to what I want to create. For example, chapter book new book, Chapter one leave it at the 4400 Hertz mano for audio for spoken audio. There's no reason if you're narrating something that you need it in stereo auto, it should be in mono. That said, if you've got an audio file, that's music. You may want to pick something like stereo, or if you've got something fancy, like a 5.1, you can pick that. If you're just narrating audio for a podcast or audiobook, it generally should be in mono. I leave it in 30 to float for the bits and then we'll save it, usually into 24 or 16 depending on what my provider once I hit, OK, now I've got this new wave form here that I can record into. I'm able to edit it and then use that in multi track. When you go create one way form, you can very easily create more. For example, if you need another audio file, for example, you want to do Chapter one intro. You can do the same thing. Create that now, if you've got a multi track you want to dio, you could call this for example, Chapter one and you can pick a template on the session. You can start with none to leave it blank. You can pick something like podcast. You can pick whatever of these you need. Note that whatever you pick will come with default applied to it. When I first did this, I did not realize that when I picked the podcast template, it will pick the sample rate in a bit depth and the master, which that's pretty common sense. However, it also puts effects on the tracks to begin with, and I was wondering when I first used multi track wise. My voice sound different because it automatically puts the effects it thinks you should have on that track. If you want to totally customize it yourself, go none. If you want a specific format that matches what you'd like. For example, you pick podcast and hit OK. Note that each of these individual tracks, for example, the host has a speech volume level or already applied to it. The interview has a speech volume level. Er the sound effects has dynamics processing. In Parametric Equaliser, the music bed has, ah, hard limiter and then the master has a compressor and equalizer. If you just to use all of these by default. And it sounds great than that's nice what you can do when you've got your individual audio . For example, if you're doing an audio book, you probably wouldn't want to use the podcast template. You just use your own. However, if you were, you could drag in. For example, the chapter one intros Here, let me record it when you want to switch back between you go over toe wave form and now you can access any individual audiophile double click on it to switch which one you're using. For example, if this is the chapter one intro, I start recording my intro here. Then ice double click to switch back over to the Chapter one itself. Click on record to start near rating Chapter one. This is now chapter one of the book hit Stop! Go up here back to my multi track session. Now I could drag the intro over here. I can zoom NC. You'll see that it actually has some length to it. This the Chapter one intro Now I could drag this over for the Chapter one audio interface, using the multi track session, even for something like an audiobook can help you get the spacing and the timing just right . If you do have any sound effects, if you do have any music you want to put with it, this can help you put it all together and sound beautifully. It's also very easy to edit the different lengths of the files that Aaron multi track. For example, if you recorded a little too long and intro, you can easily shorten that. And if you go back over on the wave form, you'll see that it's not actually shortened in the way form itself. It's just shortened in the multi track, which is great. If you want to use the files for something else, you can. Then if you decide, maybe I do want to use that. You can extend that whole length out without modifying the file. Note that if you do modify the file, for example, I just delete this chapter. One intro, because it was terrible, noticed that in the multi track it is now gone. Therefore, the multi track pulls off of the wave form. What you do in the wave form, it pulls from that. If you just regret your decisions and you click on doing the multi track. It will not undo it. You need to go back to the wave form. Then you can click on doing the way form. Go back in the multi track. Now you can extend it. And this You can dismiss the warning as well. I've given you an overview of how to create a project. Now the last thing you need to be able to do is save a project. No. When you have wave form files each of these files you're working with a modified version of the file, which means if you just click save you will overwrite it, meaning it's a good idea. For example, you are getting files from a client. Just take copies of the files from the client. Then you do whatever you want to process them, save over them without modifying or having to get back. The originals. Make sure you do have a copy of the file somewhere in their original format before you just save. Once you've got a copy, the files you can work with you can just save the individual files. Then you'll have options as to what to save. It usually want to save the original audio files you're working with in the highest quality possible. That way you can always scale it down. However, if you save it in, for example, it's 32 bit. You save in 16 bit. You can create some audio artifacts doing that sometimes, and that way it's nice to work with the highest quality file to begin with. Then, when you actually need to put it out and export it, you can use a lower format. Thus, you can just save all the files. Note that when you want to save the multi track session, this also needs to be saved as well. You can click save as on the multi track session you can put it in. An audition session is the only format I've got here. You need to save each of these separately. If you just want to save the audio files. Each individual audiophile in these to be saved, which is why it has saved all. If you just hit save one and you're working with different files on Lee, the foul you're actually working with will be selected. If you are clicking a different file and you save that one, you'll notice that will be saved and not the other one. You can also save just a selection. For example, if you just want the beginning of a file to be saved, you can save that selection as a file. Make sure you save everything before you close, and make sure you look at any of those warnings and don't just disregard them. Make sure you've got your multi track saved in your wave form saved. Then when you're ready to come back in and work on it, you can just click file. You can click on open recent. Then you can pull out any multi track sessions you've got in, and you can pull out any wave forms you've got in that you're ready to work with a swell. You've now got a great overview of how to start projects. Manage the basic details of a project. For example, move way files between multi track session and save every single different part of your project successfully 5. Audio Not Recording or Playing Back in Adobe Audition? Check Input and Output Devices: Let's show you how to control your input and output sources and adobe addition. If for some reason you're not hearing anything when you're trying to play back your file or you're hitting record and you're not getting anything to record, this is how you'll fix it. Go upto Adobe Audition and click on Preferences, and what you need to do is go to general. You also can go straight to the audio hardware section of it. That's the same menu. It just takes you to different parts of the menu. When you're on Mac, you'll have this device class core audio on Windows. It might look a little different. The basic thing you need to get right is the default input and the default output for me on My Mac. I've got a scarlet to I two USB interface from my Ari 20 microphone as my input on my output, I've got what's called a multi output device that allows me to record my audio from my computer on Mac into O. B s. While I'm recording on your computer, you may just have your headphones or your speakers or whatever. You usually put out the sample rate on your microphone needs to match. Whatever you have here. If you put it toe one that's different. It may give you a warning. You can set it to whatever sample right you want. I usually keep everything to 44. 100 on here. You have a buffer size. This will give you. If you use a smaller value, it will give you a lower Layton. See, however, if you're dropping, if your audio is messing up, you can put the buffer size up to help you make sure your audio doesn't do weird things. If a smaller buffers not working, I have the default of 5 12 And that works great. I don't mess with this setting here. Then there's additional settings. You can click on the audio devices to get further detail on what exactly you've got coming in and going out. I've got my audio hardware set up like this. It works great because as soon as I click on record, it records from the mic and when I play back, it comes out my speakers. This way, everything goes in and out just the way it should 6. Is Adobe Audition the Best Digital Audio Workstation for You? A Look at Alternatives!: What are some alternatives to adobe addition that you want to beware of from the beginning to make sure that learning Adobe addition is right for you? If you're already committed to the creative cloud and you love Adobe products, then there's no need to even consider alternatives if you're here to use Adobe Addition as the digital audio workstation to get a particular task done, such as editing audio for audiobooks, for a podcast or four vocals from music, you want to be aware of other options. It's a big investment of time and energy to learn a specific software, and over the last nine years, an entrepreneur of line I can see it's always a good idea to know your options before you invest in learning with a specific program or software or service. Let's take a quick look from the audible blawg. This is on a C X's Blawg, the audiobook creator exchange. They've got a great look at different digital audio workstations you can use for audiobooks , and I will speak to also using for ah, podcast you can count on if it's good for audiobooks is good for a podcast. I will speak also to Rather, it's appropriate for music. Ideally, if you could use the smallest amount of programs to get everything you want to do, done this will help you be most productive. If you need to learn, use six different programs to do everything you need to do versus if you can just learn one or two that will help you out. Here is the first alternative on the A C X blawg is GarageBand. The nice thing about GarageBand is if you have a Mac, it's free, and you can use it toe to make music. If you like to make music and you're wanting to use addition to do vocals and mix tracks, you might want to check out Garage Band because that's already included on Mac. For things like Mastering Audio, de Garage Band will not meet your needs very well. Garage Band was actually the program I used before Adobe Audition, and there's no going back to Garage band. For me, Audacity is an open source free digital audio workstation that you can use to edit your audio. This is the first program I used to edit my audio. I downloaded it because it was totally for free and I was able to make my audio sound a lot better for it. It's available for both Mac and Windows. What stinks about Adobe addition, not Adobe addition it was thinks about audacity is you can't measure the peak RMS values, which you need to do if you're mastering audio books or if you want to get your podcast, your audio an exact level. It also doesn't come with the ability to master audio at all. You can put plug ins around this. You'll need another encoder like lame to convert to MP three, which is annoying, as I can attest to from using it a bunch of times. It's a great free software, however. For me, this is not a great option for the long term because it's so limited. You'll need to put all the other things into it. By the time you put your time and energy into using ah audacity, you might have paid for Adobe Audition. What Audible recommends via a C X to use as a digital audio workstation is Reaper. What is ah, downside of the adobe addition program is you have to pay a monthly fee or annual fee to keep using it. You don't actually own it with Rieper, it is comprehensive. It does everything you need it to do to do great audiobook editing and therefore podcast audio and a lot of other audio editing. And you can pay a one time fee for license, which is 62 $225 depending on which license you pick. If I had known about Reaper beforehand, I might have chose to use that instead of Adobe Audition, because now I've spent thousands of dollars over the years on Adobe Creative Cloud Licenses , which has been good because there's other adobe programs I find useful as well. Things like Photo Shop, Premiere Pro. It is nice with Adobe. You get access to this huge creative suite, whereas when you pay for Reaper, it's just a digital audio workstation. That said, this is a good option if you prefer one time expense and don't use other adobe products. There's audition by Adobe, as they've shown here, and the main downside is you don't actually own a copy of it. You have to pay for a license. You have to depend totally on adobes pricing policy, which could go up or down at any time if you want to get the best price. E. I joined during Black Friday, which gave me a very chief license. Every month. However, they could raise that, and this adds up a lot over time. But you do get access toe all the creative cloud applications, their sound forge by Sony, another tool you could look into its costs $400 making it expensive. And the Mac version doesn't include some of the most useful features the PC version does. Adobe Addition is really good for ending a lot of audio files at once, which some of these other workstation Joe find don't do is good with There's Wave Lab. I don't know anything about this, A C X says. It has a high learning curve. There's pro tools by avid. If you look at the verdict on this one, it says it's $500. If you are looking for music production, I've also used FL Studio and I've used able to live 10 and I've used logic pro X. All of those could help you if you're already using them toe, edit your audio and to get it sounding great because all of those you can do great mastering on the audio. There's lots of plug ins if you're already a music producer, and the main thing you do is producing music, you probably will just want to learn how to master within your own music production program for something like a podcast or an audio book. Because you already put so much time and energy into, for example, FL Studio or able to live 10 or logic proact, you might as well just learn a little bit that you need to get your audio right for their If you're not already producing music and you want the best long term solution, I'm using Adobe Addition, and it's nice to see the alternatives to verify my choice based on what else is out there. Adobe Addition, as a part of the creative cloud looks like a great option for me, which is why I keep using it now that I know the alternatives. I feel very secure in my choice to continue learning and teaching Adobe addition because, from my view, there's not a better option out there for me personally, especially for audio books and for podcasting and for doing vocals and for processing audio files in Batch. That is all about adobe addition, alternatives 7. #1 Beginner Audio Mistake and Solution!: What's the number one mistake beginners make when recording audio? And what is the simple solution for it? I made this mistake when I started recording videos and audio, and I'll show you an easy way to avoid it. Here's the number one mistake. Beginners. Try and just grab whatever microphone or cheap headset is lying around. Or an iPhone, which can actually work much better than many other things to record and then try and clean up bad audio. In other words, beginners don't consider the most important piece of equipment for recording audio, which is the microphone. The microphone you use has a huge impact on the audio you record on. What most beginners try and do is just grab whatever microphone is around the cheapest little headset or iPhone or whatever they can get their hands on, as I did, and then try and clean up the audio afterwards in an audio editor to make it sound better. This can be an extremely inefficient process, and often, if you would just spend the money to get a better microphone to begin with, then your audio would sound so much better that you'd very quickly save a lot of time and energy, ending it after the fact and that amount of time and energy would allow you to make much more money than the microphone itself cost, often 10 to 100 times the cost of the microphone. What is the solution? The solution is to get a good microphone from the beginning. I recommend the Shure Sm 58. This is, Ah, microphone you can get for $100. It's got very high ratings. 4.8 out of five. It's tested over time. It's less than $100 on Amazon. It's a very high quality microphone that will allow you to record way better audio. That sounds professional, which you can then very easily put on some effects in a program like adobe addition to make it sound even better. This is allowing you to save a lot of time and energy, trying to clean up less quality sounding audio if you want to get what I've got. I used the electoral voice Ari 20 cardio. I'd microphone. I did not start with this after years of using microphones that were starting off $20 then up to 102 $100 Then I got the Ari 20 electro voice because this microphone is just amazing . It sounds great, and you'll notice a lot of professionals use this microphone. One thing that stands out between beginners and professionals is the microphone. And if you want to immediately up your game and not be a beginner, the fastest way to do that is toe up your microphone. If you want to be taken seriously as a creator of quality audio content and video courses, the microphone is an essential piece of that four and Ari 20. You will need something like the scarlet to I to toe actually get the audio into your computer. This is what I used to get the audio from the microphone in my computer, and I understand that that's a $600 to get the audio out of my mouth and into the computer versus if you just did a cheaper solution. You can also use the blue Yeti USB because if you use the Shure Sm 58 you will also need a USB interface like the scarlet to I to meaning really, it will cost you about $250 to get the audio out of your mouth into the computer. I've seen a lot of people use the Blue Yeti USB, and I use this microphone for several years recording audio, and it makes a huge difference versus using something cheaper. This mike, as you can see, has a lot of reviews. It's very popular, and it works well. I'm the microphone. You also need to make sure you've got the settings on it right, and you've positioned it correctly. The microphone should be directly below or close to and the path of your audio. If you want to minimize the puff puff puff sounds, then I've got the microphone a little bit below. When I'm talking, it is getting. My voice is only a few inches from the microphone, and yet it's down a little bit. So if I blow air out of my mouth lots of times, it won't go directly into the microphone. For a better sound. You can buy more expensive microphones, and if you don't position the microphone correctly or audio will still sound pretty bad. And if you don't get the settings on the microphone, just write, your audio will still sound pretty bad. I remember submitting my courses for review and getting them rejected on audio so many times, and it frustrated me because I couldn't hear my audio. I couldn't even hear what the reviewer with saying. They said I had this loud, echoey room. You will want to treat your room. It's much easier to get a room that's not all echoey, and that's treated by treated. I mean, you want things in the room. Ideally, you want something to absorb sound. You can build a little sound box around your microphone. You can use something like a mattress in your room. You can be in a room with furniture contest recording in different rooms. Ah, what a lot of people do that have limited space is to set up a little box. That way, when you talk into it, it stops a lot of the echo from going out. What I ended up doing is building my own home office studio. I've got all these foam pads on the walls. I've got ah, heavy floor made out of material you would see at a gym. I've got a lot of heavy material and soundproofing that way. My audio sounds good when it comes out of my mouth. The number one mistake beginners make is to start with ah, poor quality audio and try and improve it through a digital audio workstation instead of working on getting at least good. If not great audio in to begin with, then you can make it sound absolutely beautiful. Or you might not even need to edit it all in a digital audio workstation. When I record videos for my courses, I don't even need to edit the audio because I record in O. B s. I put some basic audio plug ins on like compressor and a limiter. That way, if I talk too loud, it compresses a volume down. If I talked to quiet, it can bring it up a little bit by comparison. When I've got a limiter, if I get to screaming and ranting and going crazy, it doesn't clip clipping makes your audio sound terrible. If you can just record your audio right to begin with, this is one of the biggest difference is you can make in your work flow. When I first started recording audio, my audio consistently sounded poor and I spent a ton of time and energy trying to make my poor audio sound better as soon as I made the leap into getting my audio. So it sounded pretty good without having to do anything except apply the exact same set of effects on it every time. That was a huge leap forward. The more I've practiced now, I don't even bother editing where I'm talking. I just talk, and this allows me to create really fast without having to spend all this time of post production as a beginner. We often don't think about this in advance. We don't consider our entire process for the rest of our lives. We just think, How can I get something out today, which is good when you keep going through that process over and over, you'll start to get intolerant of doing all of this post production, thus minimise the post production you need to do to make great audio and you'll find you're able to work a lot faster in creating Mawr Audio 8. How To Record Audio in Adobe Audition for Easy Editing by Leaving Silence After Mistakes: one of the most basic things you want to do an adobe addition is to be able to record your audio. What I will do is show you exactly how to record audio and adobe addition. Right now we are in the If you look at the different panels were in, I'm using the audio editing the simple editing interface. This gives me the file name to the left. It gives me the effects rack of the properties over here. I've got my history and my video. When I record audio, there's a red button here that I can click on to start recording. I just click on it. I can put a file name if I want to. I can put channels. I usually just leave it mano 32 bit sample rate 44 100 often just untitled one. And look. As soon as I start talking, it is immediately recording the audio directly into the interface. If I hit stop, then it quits audio recording, and by default it selects the entire part of what I just recorded without me having to do it automatically. If I don't like that, I just hit the delete button hit record, and it'll go right back to recording the audio that easy. If you just want to pause it for a minute without selecting everything, you just hit pause. Then you click on UNP awes and it will go right back to recording. If you hit pause again, you can stop here. Click on on Pause and it'll go right back to recording. When you're done, you can it stop. And once you're ready to start editing or play a back click when you skim it, you can go through and it'll skim over. Now you can hear back the audio that I just recorded hit record, and it'll go right back to recording the audio that easy. If you just want to pause it for click on UNP awes and it will go right back to recording. If there click on UNP, pause and it'll go right back to recording. Now. You heard it some audio distortion because I hit the pause button and it made some weird sounds. The best way I like to record audio is make sure you've got some good silence on the beginning and the end of it that will make it a lot easier if you need to pause. Or if, you know you just made a mistake to edit it. Here's how I usually record my audio. My philosophy with recording audio is to just talk from straight through. If you don't have the experience where you're comfortable just talking straight through without having to go through an edit a bunch, then what you want to do is do it like this. You'll click on Record your audio and just start recording your audio. Let me stop it here, delete it. Here's how I actually record the audio. Give it some silence to begin with, Then start talking. Then if there's a point you need to edit at, just stop it right there and leave some significant silence. That way you can find it easy to edit. Watch how I do this, what you just saw. I clicked on record, and then I waited about three seconds before I talked that way. When I'm talking that blah, blah, blah and making my recording, I can very easily see that silence. Let's say I just totally flubbed a line and it didn't make any sense at all. I need to edit it right now. What I do is leave a bunch of silence after that, because then I'm able to go through and edit it. If your workflow feels better to just keep recording right after that, then you don't even have to actually stop the recording. What you can do is just leave large blocks of silence wherever you flubbed, and then it's very easy to go back and edit. For example, Let me show you this in a different context. It is very easy than to just strip off the beginning and end of the silence, or to know if there's a big silence. You need to go back and check the audio right before that. Cut anything. If I want to do a really representation of a recording, let's show you how that would look often like to take a deep breath right When I start talking, leave that silence there. Just begin saying whatever I've got to say up. I messed up. I went off topic. Let me leave some silence now. That way No, I could go back and edit that part very easily. I got that big block of silence, and as soon as I come back in. I'm ready to continue talking as if that hadn't happened. When I'm recording, I mentally go back for an audiobook and ah, podcast episode and say, where did I need to re record that from? For example, if you're telling a story about your mother and what she was doing and you flubbed a certain part of the story than you need do be quiet and picture. What part do you need to restart from toe? Edit it in real time. For example, you were talking about how your mom went on vacation and everything was good until you talked about the part where you went to Disney. Then you would just do like this when my mom and I were planning our Disney trip. That way you can immediately go back and cut right before you started. For example, the time when you were talking about the Disney trip, you can immediately cut right there, cut the silence out, and then you're ready to just put it in in a way that sounds natural. That's very easy to edit. If you look at the audio I'm recording here, you'll notice for me to go back and post production and clean this up. It is very easy and obvious where I need to go at it. Those big blocks of silence are my signal that that's an editing point. Those editing points make it very easy for me to trim the whole audio up, and my basic philosophy is I ended it. Those editing points and I don't edit anything else besides the beginning. In the end, the silence also allows me to gather my thoughts again. Often if I totally messed something up, it's because my thoughts were going off in a different direction or my thoughts have been unfocused. If you're telling a story, for example, and you start to ramble or mess it up, it's often because your mind got unfocused. And when you take that silence, you can easily refocus your mind and get back on track. When you get back on track, then you can just cut whatever you need to to make it all flow together. That way, when a listener hears it, it all sounds like it naturally fits together, and you don't even notice those times those edits you'll see as you record longer and longer audio, for example, for a podcaster, an audiobook. You need at least five, if not 10 seconds of silence to really stand out. This is because you'll normally take one or two second pauses while you're talking, unless you're me and I just I get it all out there. You want to make sure the silences when you need to edit are significantly longer at least five, maybe 10 or 15 or even 20 seconds to allow you to get your thoughts together. This workflow works really good for me because it gives you the ability to edit very quickly without having this totally stop. I recommend against totally stopping, because when you totally stop, what you'll do is you'll lose track and you'll micromanage yourself. You'll delete too much. You'll find it takes you 30 minutes to get out a minute of audio. I've got to the point with my teaching where I won't even do this process because if I go through and constantly think about how what I have perfectly said, that I'd be leaving 10 or 20 seconds, some silence every minute or so. I'm not sure that would actually make the course a lot better, because it would take away from some of my authentic humanity, where sometimes I do go often changes, and sometimes the tangents are the most interesting parts. Have you read a book before about a specific subject and some of the tangents? Some of the areas Will the author deviated from the specific points and just got into their life? Stories were some of the most memorable in best parts. I think a lot of us are craving an authentic human experience. This workflow. If you're ah, beginner to intermediate and you're not comfortable just talking straight through and naturally refocusing and correcting yourself, then this workflow will be very helpful for you. This workflow, also over time, will allow you to get in the habit of refocusing yourself without actually needing to leave the silence. That way, when you record audiobook or podcast, you can just talk straight through. It'll sound good, and you won't have to go through and do all these edits. You can see as we record longer, longer how important it is to leave these big gaps for silence as the audio gets longer because you'll need to skim through this, let's say now that I've finished what I'm talking about. It selects this whole thing. Now it's very easy to just jump back and locate those editing parts, whereas if I leave them smaller, it's not. I hope this process is very helpful for you to record your audio in a way that you can easily and quickly edit and naturally narrate or speak or tell whatever stories or educational programs or podcast. Sir. Vocals. You can even do this with singing. You can just sing. Ah, whatever you're going to sing. You can just sing your lines. Silence! Sing it again! Silence! Sing it again. Silence! The silence is what you really need in the recording to make it easy to edit the sound. 9. How To Save Hundreds of Hours Editing!: the first thing to consider when you're editing audio and adobe addition is what quality audio are you bringing in two Adobe Audition. It's a lot faster to bring in great quality audio and make it sound a little bit better, or edit the mistakes or whatever you need to edit out of it. Then it is to bring poor quality audio into it and try and make it sound decent. The first consideration is what microphone are you using? The second consideration is what environment are you recording in? If you're recording somewhere that's loud and noisy, where there's cars honking outside that will take down your audio in a way that you're editing is just not going to make up for when I start watching somebody's course and I hear cars in the background. My immediate thought is this is total trash and then may not be accurate. What you need to consider before even editor audio is where my recording, what am I working with? Almost all the great audio you've heard on things like audiobooks and podcasts. There's very little if any background noise. Therefore, you want to record somewhere free from background noise as much as possible. And I understand if you live in the middle of New Delhi in India, it might be hard to find somewhere that doesn't have a bunch of noise I have on office in my backyard. That soundproofed and this I swear. Ah, high percentage of the time. As soon as I'm ready to record a long more will come on. Like why you got to cut your grass right now, man? No, I have some proved it a lot, which means it can be difficult to hear a lot more. While I can hear it, my microphone will not actually pick it up. And I talk so much how you can even hear long. Moreover, me talking before you even begin tablature audio. You want to make sure that your recording environment makes your editing experiences easiest possible. Ah, just your recording environment before you record and before you edit because the time you take to adjust your recording environment will save you that much time and mawr editing. If you Onley can get to a silent place to record infrequently, you could just record a lot while you're there. Then you're editing will be so much faster that when you go back to your noisy environment and edit all of it, it'll be a lot easier. The ideal scenario is to get to a place where you can both record and edit in the same spot . If you're trying to record a podcaster on audio Booker of Video course, having to record somewhere that's really noisy and full of distractions is likely bringing down the quality off what you're creating. You can try and edit out the lower quality points I remember airplanes used to fly overhead . When I first started recording video course, I remember screaming up the sky about the airplanes. I had this wide open window, and when the planes flew over it, the window let the plane sound. Come straight in. And when you listen back to my video courses, you could hear the planes fly overhead and it drove me nuts. When you get driven nuts by your recording environment, that's good motivation to set it up Even better. The next recording studio I set up right after we moved, I got the windows filled up with soundproofing foam I recorded in my actual bedroom and the bed I had in my bedroom took away a lot of the echoing sound that reviewers had previously complained about in my old recording studio, which had been in a wide open room with wood floors and wood walls where there was almost nothing to absorb sound. And every little thing I said echoed, You can build a sound box around your microphone to get the audio in and sounding better. My studio now is out in the backyard, which is so nice because with a wife who works at home and two kids who are currently home all day, every day, this is the only place I can get out to record some quiet. I spent more than $10,000 to get this built in the backyard because I believe what I'm saying. I consider to putting the studio in the house. As in our last house. My studio was in our bedroom. It was a two bedroom, one bath, and that's all we could afford at the time. As soon as I could, I got this built in the backyard and put the money into it because in order for me to record audio, my wife and daughter usually had to be out of the house, which got to be inconvenient for them lots of times, and I scheduled my recording around when they weren't in the house. If you want to make great audio, taking kids screaming out after the fact with editing is not nearly as effective as just not having the kids screaming in the audio to begin with. That said, sometimes if you just own it, as I did lots of times and I was recording videos and my wife and daughter would come in I often to stop recording. Occasionally I would just keep going. And if there was some noise, I would just own it and work it into the video. Somehow you're recording studio or wherever you're going to record shouldn't be made with your editing process in mind. My recording studios totally set up so that I don't even need to edit my audio at all. That saves me so much time and energy that in the same time it takes a lot, of course creators to make one video that's maybe five minutes long. I can make five videos that air 10 minutes long in the same amount of time. That allows me to make a five or a 10 hour video course in the same amount of time. Another creator has only made 20% of their course or has only made an hour long course. That helps me get more videos out, help me make a lot more sales. I think your whole process through. Look at where you're going to be editing, and this will save you a ton of time actually editing, because if you're like a lot of us, most of us that are creators don't like editing, which is why I've put so much in this course to help you avoid even using adobe. Addition. Help you even avoid editing in the first place. Now, there's certainly some places you won't be able to avoid editing. If you've got a podcaster and audio or your online course platform has strict requirements about the volume, you may need to go at it as I do for audiobooks. I need to go at it my audio afterwards to make sure it's in exactly the right format to publish an audiobook. It only takes me a couple minutes to edit an hour of audio because of the system I use here and of my recording studio, whereas other authors might need to hire a sound engineer or an editor for hundreds, maybe even thousands of dollars to go through that at that audio or spend 5 10 2030 hours going through an editing their audio in that same spot. Now you're prepared to successfully at it your audio by creating audio that's easier to edit from the beginning. Instead of creating audio, that's a disaster where you have a ton of work trying to edit it. 10. Editing A Voice Recording in Adobe Audition Using Silence to Find and Delete Errors: Let's see how we quickly edit the audio that we brought in via the workflow I talked about before. Given I can see just two big points of silence. It'll be relatively easy for me to clean up the audio I recorded before since in my mind I didn't actually make any mistakes. I don't need to even go back through and cut the previous audio. What I can do is just cut thes silence points trim the beginning from the end on my audio is ready to go. The first thing to do As soon as you finish recording, make sure you go in and save as I like to save as that way I've got my audio and before I edit it, it is ready to be undone if you just record your audio immediately edited occasionally, you might mess the edit up. If you mess it up enough, you might need to go back and re recorded, and needing to go back and re record your audio is no fun. I've done that before. Arrive edited the audio in ways where I wanted to just start over and I hadn't saved the original. No way to do it except either rerecord or accepted. Thus, as soon as you finish recording your audio, if you want to save it in the highest quality format, you can save it as a wave PCM in this 44 32 bit, Just save it in the default. If you want to, I can put mine in. I'll just throw this in. The Documents folder for this course will call this demo recording for audition course. One well will hit OK, and that saved. Now, if I totally messed the recording up, I can just go back. And when I'm done recording this, I'll save it as unedited version. Off that file, when I recorded my audiobooks, I've went through record. The whole chapter saved the original. Then I copy the original edit and then save the edited copy as a process file. That way I know I've went through and edited it, and I don't need to do anything else, and I've still got the original. If I changed my mind about the edits, the first step Teoh do great editing in this window is to zoom in. I'll take this in the top. In the very top. There's this bar. You want to zoom all the way in and you can do this and dual monitors as well. If you want to just view the entire editor here without any of these on the side, you can also adjust this to make it bigger. And really allow yourself to focus just on the editing. As you can see, I dragged these over. Since I'm not using those right now, I really just want to focus in on the editing. It depends on what you're editing. Four. If you need, for example, a second or so of silence at the beginning, you can control for that. You can also use the silence at the beginning as the point to capture noise. We're not going to get into that yet. What will do here to begin with is just cut this down to the basics that we want the audio to be before we're going to apply any effects on it. You just want to get the actual audio you really want to use. Then it makes sense to do effects on it. The first step is to cut this extra silence out the beginning. We don't need that much silence and it's very easy to find these big silence points. If I had messed up somewhere, for example, let's say in this scenario that the last word I had said correct was right here and this little silence. Let's say I wanted to trim this and jump straight ahead into the next one. What I would do is select all of this right up to here, then delete that and now it will transition straight into that. Let's play and hear how it sounds with the edit up. I messed up. I went off topic. Let me leave some silence. Now I got that big block of silence and assumes I come back in. I'm ready to continue their see how nice that sounded. You couldn't even tell that I edited audio right there with great editing. You can't even tell that the audio has been edited. If it's poor editing, you can tell very abruptly or obnoxiously that the audio's been edited. You want your editing to sound natural. If you're recording something like a live speech, I do my video classes in more of a live format to give that authentic human experience, which allows me to more naturally connected the viewers. I've gotten a lot of positive feedback about that. It demands that I be able to do a video from start to finish without making blunder so bad I need to edit it. It also gives me the authentic straight through experience. If you're editing and that you make some really choppy edits, it can sound off and it can be obnoxious every time you jump. If you what you want to do, once you've edited something, is check it to make sure it flows naturally. Let's play that again and hear how it sounds up. I messed up. I went off topic. Let me leave some silence. Now I got that big block of silence, and as soon as I come back in, you can certainly tell if you are a great listener that it transitioned a little bit. It's not an obnoxious editing point where all of the sudden I'm talking and it just clips straight in something else. These can be done stylistically. If your podcast how our audio book has a style where you just jump from one point into another, it could be OK to make a little choppy, and it's like that. One thing you can do additionally, is add some silence and, if needed, to help the transition. For example, if I wanted to add a little silence to help this transition, I can go up to edit insert silence. I can put now that just put 10 seconds of silence and that's excessive. I can hit Command Z or controls. If you're on Windows, go back to edit. Insert silence. Let's put one second on this instead of 10. You can turn it up and down with the arrows. Or you could just enter number in. I had. Okay, now I've got a second of silence. That's a little bit too much. I can select that here and now. Let's hear out. Sounds with silence. Let me leave some silence. Now I got that big block of silence, and as soon as I come back, that sounds pretty good like that. I put a little extra silence in. Their silence will always help you make great transitions, especially if you think from the beginning about editing between silences. If you make a big mistake or mess up, having silence between your words or pauses makes it a lot easier to insert a natural edit in there. If I'm just talking like this constantly and then I mess up in a nice group and then I go off on some tangent and a little it's really hard to edit that without it sounding obnoxious. If you've got a live audience, it also can be difficult with live audience, since there's background noise and people having some feedback and talking, that could be more difficult toe edit into a way that doesn't sound, clip be or jumpy. You're probably in a studio, probably not dealing with a live audience. Which means all you need to do is work your silence if you leave some natural pauses like that, and then you flub what you are saying afterwards, it's very easy to go back to that natural pause and start over. Let's look further ahead in here, find that next big silence and let's what I do. If there's a big silence like this, what I do is I go back and listen to the audio before it to find the best cut point, for example, I'd go back, maybe toe, where there was a little bit more of a silence like right? I'm zooming in off my mouse. If you scroll down a little bit on the mouse, little zoom in. If you do that, it'll zoom out. I look for these points of silence and the talking, and then I'll play it a little before that. Let's say right here what she was doing, and you flubbed a certain part of the story than you need to be quiet and picture. What part do you need to restart from toe? Edit it in real time. For example, you were talking about how your mom went on vacation and everything was good until you talked about the part where you went to Disney. Then you would just do like this. As you can hear, I've talked so much. There can actually be difficult to insert a good editing because I'm starting sentences without sufficient pauses between those sentences to really make a good edit. Let's play it in and see if we can make the best edit out of this possible. When my mom and I were planning our Disney trip that way, you can immediately go back and cut right before you started it. So let's pretend I want to go cut from where I said that way and make it kind of flow a bit better. I just pick a point. Play it and everything was good until you talked about the part where you went to Disney. Then you would just do like this. Oh, it's not very obvious. Exactly, right. Cut here. What you can do is go farther back as well and find a point farther back. Start story about your mother and what she was doing and you flubbed a certain part of the story. Then you need to be quiet and picture. What part do you need to restart from there? I've got a decent pause right here. What I can try and dio. It's just highlight this slide over and get it right here. Delete. Let's see what it sounds like. There's nothing beats just trying it, seeing what it sounds like. And then you can make adjustments or undo. Let's play it back a little bit. Let's see how this sounds and picture. What part do you need to restart from that way, you can immediately go back and cut right before you started. Be quiet and picture. What part do you need to restart from that way, you can immediately go back and cut their. That sounds pretty good I made. That makes some sense because I was talking about going back and editing, saying, What part you need to go back from? I just cut the part out, using the example from my mom with Disney, and when I made the edit, it sounded pretty natural. I can always add some more silence in what you can see. If you look at all this audio now, zoom now. I took out those big points of silence. Now those have been accounted for. Now I've got audio that had I made a couple of big blunders or errors there. I've given you exactly what it looks like to take those out and put the audio sounding right. You need to drag your play head if you want to finish and make sure the end of the audio sounds good. You can make sure you leave some silence at the end of the video. And if you're not having or audio, if you're not having true silence, if there's some background noise, you can actually just go insert silence. You can put a second or so of silence in and that way, when you're audio goes out, it naturally fades out and goes to silence. Instead of just having straight noise and background noise like this, let's say now that I've finished what I'm talking about. Do you hear how that very naturally played out? It ended the sentence than there was a bit of silence is a perfect time for transition into the rest of the podcast episode audiobook chapter, etcetera. Now that we've got this done, we can save this. You can save as if you're using off the original. You can now save this as a demo recording, for course one edited. Now, this edited version is a separate file from the original, and you can go back and compare the two if you like. This one is now ready to go through any processing effects. Now that I've went through and edited out the audio to the point where I'm ready to actually use this file based on the audio I recorded now I can go through import effects on it. I can adjust the volume on it. Now I'm ready to proceed and get it sounding professional 11. Noise Reduction with Adobe Audition — Capture Noise Print and Removing a Background Airconditioner: you ready? Learn how to use a noise profile to remove background noise from your audio and adobe addition. Let's take a look at exactly how to do that. Right now. We'll grab a file that we want to work with. I will pull a file in that I worked on editing yesterday. We'll grab this file and from Finder. It's called Demo Recording for Adobe Audition Course. I move this in and will drag this into the editor. What we're going to do is select a quiet part of the file and use that as the noise print. We will capture the noise point to give Adobe addition an idea of what it sounds like. One. We're not talking when nothing else is going on. What Adobe addition will then do is take that profile would give it and strip that from all of the audio. My studio doesn't have much background noise to begin with, however, the noisier your studio is by default, things like computers humming, planes flying over but not transient sounds like cars honking. This is constant background noise if you've got a regular hum. That said, it's no substitute for having good quality audio recorded to begin with. I've got air conditioner in my office here. I could run my air conditioner while I'm filming my courses instead of getting all hot and sweaty in the suit. What I do is leave the air conditioner off because if I ran the air conditioner, I would then need to apply this technique to remove it. Sounds from the background, and it wouldn't quite sound the same. I will demonstrate that for you, let's first demonstrate capturing the noise on my normal high quality audio recording. You'll notice I'll take the original version and begin to give us the maximum amount off noise toe work with you normally want to. If you add things like silence into your file, then you don't want to capture the noise Point off the silence. You'll notice that my audio normally is very quiet. This is the original demo recording Before with this is the audio in the background and what you want to look for is something like this where you've got absolutely no talking going on and you can capture that. What we'll do to get this started, we go up to effects. We'll go to noise reduction restoration. Then we'll go to capture noise print. Capturing the noise print is where we give adobe addition a demonstration off What are noise? Sounds like we click on capture noise print here. It says the current audio selection will be captured and loaded as the noise print for the use. The next time the noise reduction effect is launched, we hit OK, it hasn't done anything yet. What we're going to do now is go up to effects noise reduction. Now we'll go over to noise reduction process. You can also do adaptive noise reduction. What will do hear is noise reduction process. This will bring up the noise print it's got, and it will give us the ability to remove the noise from our audio file. What I'll do over here is use log rhythmic and we'll put the noise down by six sixties over 60 db. This will effectively totally quiet any of the noise. Then we will have the entire file well hit apply and it's now going through an applying noise reduction to the whole file. You'll notice there was a little tiny blip right here, and that's gone. What we'll do now is mute my audio and let this play to give you an idea of what it sounds like with the noise reduction. Now, with noise reduction, you can undo this, which will allow us to have a before and after. Let's listen to the difference often like to take a deep breath right? When I start talking, leave that silence there. Just begin saying, whatever I've that was after noise reduction. Now let's undo the noise reduction. You'll see these little tiny points came back. Now let's play it without the noise reduction often like to take a deep breath, right? When I start talking, leave that silence there. Since this is recorded in a high quality studio where I've made every effort to keep the background noise to a minimum, you don't notice any difference. What we'll do now is we'll do a demonstration on this if I put the air conditioner on, cool myself off for a moment and give you an idea of what noise reduction sounds like on a much noisier foul, as I'll say a bunch of times in this course, always better to record better audio than try and clean up audio afterwards like we're about to do. I'll click on new audio file. We'll call this noise reduction demo. This we now turn the air conditioner here. The no air conditioner in here allow. That is compared to nothing at all. Now, if I talk over it, it's not a big deal. But what we're going to do is starting. We're going to record. I will hit the record button, which you can also do with shift space to start recording, and you can it space to stop recording. What we'll do is I'll start off with some silence. Then I'll record some audio. Then we'll stop it. We'll process it and hear the difference between the audio with him without the air conditioning on. Let's start recording silence, then I'll talk Silence Stop shift space to start. What I've just done has left five seconds of silence to begin to give me a lot of time to generate a noise print. This way, Adobe additional know exactly what it sounds like when the air conditioner is on. I use that five seconds to capture. That is the noise print, and then we'll process this and see the difference between the audio with the air conditioner on versus the audio with the air conditioner off What I did, I just turned the air conditioner off. Now I've got a good, solid five seconds of silence. Weaken uses the noise, print the basic sound that's going when I'm not talking. And when adobe additional do is remove that sound from the background both. When I am talking and when I'm not talking, let's take a listen to how this sounds without any noise reduction. Then we'll apply the noise reduction so you can hear the difference. What I've just done has left five seconds of silence to begin to give me a lot of time to generate a noise print you hear. Allow that air conditioner is in the background. Let's go a select this. Five seconds Here. Go up to effects noise reduction, capture, noise print, which can be done with simply hitting command. Pierre Control P on Windows hit. Okay, now that's adobe additions print. That's its template for what the noise sounds like. What we'll do now is process the noise under effects, noise reduction. We'll go log, rhythmic would apply, and it's going to do. The same. Settings were used last time and it will take out the air conditioner. Notice that there's no air conditioner background sound. Now let me play this to demonstrate. Notice how that portion, which was previously noisy, is completely silent. What's interesting is to hear how the audio sounds once you've stripped that noise from the background because, well, let's see if you can hear it. What I've just done has left five seconds of silence to begin to give me a lot of time to generate a noise print. This way, Adobe additional know exactly what it sounds like when the air conditioner is on. I use that five seconds to capture. That is the noise print. And then we'll process this and see the difference between the audio with the air conditioner on versus the audio with the air conditioner off. Did you hear the difference? I enjoyed listening to the difference. It sounds almost like I'm outside in a stadium where there's a bit of a crowd there. The air conditioner is taken out from the vocals, however, taking the air conditioner sound out of the vocals modifies my voice a little bit because some of my voice overlaps with the air conditioner some of the frequencies. The air conditioners putting out are the same that my vocal cords of putting out and when you strip them from the air conditioner, they also get stripped from my voice. Did you notice there's almost a little little raw, raw sound in the background? Ah, play it again, see if you can hear it. What I've just done has left five seconds of silence to begin to give me a lot of time to generate a noise print. This way, Adobe additional know exactly what it sounds like when the air conditioner is on. I use that five seconds to capture. That is the noise print. And then we'll process this and see, I hear this artifact in the background. It sounds almost like him outside of a Roman stadium, and I'm announcing, and there's kind of a crowd emulating it behind. This certainly sounds a lot better. Let's hit control. Zeer Command Z. That sounds a lot better than having the air conditioner on if you get audio, where for some reason you have to use this and that can't be re recorded. The author, speaker or vocalist just recorded somewhere noisy. It certainly makes a big difference. It's not nearly as good as just having it better. Let's see if you can hear the difference. What I've just done has left five seconds of silence to begin to give me a lot of time to Jen. Now that definitely sounds better than having that loud air conditioner running in the background. You would want to apply that noise reduction to get a much better quality sound. Note that reducing the noise also makes a significant adjustment to the overall volume off the track, meaning you want to apply any noise reduction before you do any kind of volume processing. This is a very helpful tool that you can use repeated times. For example, Let's do this. We're gonna hit Command P to take the noise print, and then we would command shift P to quickly bring up the noise reduction. Now, since I had it selected, that's one thing you want to avoid. If you've got it selected, it will only apply noise reduction toe what you've selected. Therefore, when you select the noise print, you need to uninsulated or select the whole file, then process the whole file for noise reduction. What you can. Additionally, Dio zoom in on specific parts, and if you see that somewhere, it did not take the noise out and you do still have significant noise in the background. You can apply additional noise processing to just that section friend and them, for example, right there and and then you don't want to get any of yourself talking or it'll make weird artifacts. Let's give you an example of that. Let's say I just take this whole section capture that is a noise print man Shift P. Apply that again. If you capture any of your own voice talking, you can make weird things happen with it. Let's see if I captured a little bit right there of just my own voice. Let's see the difference with that. What I've just done has left five seconds of silence to begin to give me a lot of time to generate a noise print. This way, Adobe additional know exactly what it sounds like when the air conditioner is on. I use that is why that little artifact there where it sounded a little weird when I said about right back here when the air conditioner did you hear all the volume kind of dropped right there. That's when a significant part of my voice got caught up in the volume of the air conditioner and the noise print. You want to be careful. Make sure you only select a noise print when you are not talking at all. Even if you're making a little bit of ah, end of a sentence or saying a little bit of something, you can get your own voice caught up in it, and that won't make it sound as good. This is pretty easy to do once you are in the habit of just looking for the total silence in the audio. And I'm grateful for the chance to educate you about how to go through and remove noise from your files and to hear the difference with you between a file with no noise reduction needed or with only minor amounts of it versus major noise like an air conditioner. Taking that out in hearing what it sounds like 12. Match Loundness on Multiple Files in Adobe Audition with Batch Processing: Are you ready to learn how to batch process audio files in adobe Addition by batch process , I mean very quickly changed the audio settings and analyze the audio across multiple files . This is one of the most powerful features I find in adobe addition that is not easily available or available, all in digital audio workstations that I use. This is extremely helpful if you're an audio engineer or you've got a lot of files to work with to very quickly adjust the settings. Let's give you an example of how to do this. I've got an album with four songs I recorded, and what I'm going to do now is drag all four of these songs over into the window. What I want to do for this example is to make all of these have the same volume. While I can do this individually on each track, enable 10 live 10. As a musician with just a couple of years of experience, I often end up producing inconsistent results. Some songs come out too loud, some come out to quiet and some come out just right. What we're going to do in this example is analyze the volume on all of these songs and batch edit make them match the exact same level. This could be very helpful for processing audiobooks or podcast. If you have a client that just suddenly gives you a whole bunch of files that they need to meet a certain criteria. For example, on audiobook author might hire you with a bunch of files that are all inconsistent volumes , and they need you to put them in the right format. This is how you do it. First you bring the files in over here in the files listing. In the editing, I'm in the simple editing window. Then I've got loudness, which is a parameter you will likely need to batch at it on. If you've got lots of files that are different volumes, I select all of these. Then I dragged into the window here for match loudness. This is now going to give me diagnostics on exactly how loud each of these clips are. This can be expanded and dragged and moved over. If you want it in a different part of the screen to really focus on it. What I can see is the i t. You loudness The total root, mean square, the peak and the true peak. I can see that some of these files are too loud. The true peak should not be going above zero. I can also see the loudness is very different on some of these files, with some at 00.565 point six TB, others at 12. What I'd like to do is get all of these the same loudness. I want them to sound about the same volume to the listener. If you're listening to all of the songs on this album and one's quieter and one's louder, that's kind of annoying. What we can do to make this happen as we can apply our total are a mess. If we want to just set a basic volume and it will raise the volume on files that are too quiet. Lower it on those that are too loud and leave it where it's at on those that are just about right. There's a few different ways to do this. What I like to do is set the total RMS and I can put the target loudness. Let's put the target loudness at about will do about 15 on here, usually with vocals I might do 17. Music tends to run a little bit louder. Let's put the target to 15 on this I recommend. Always decide exactly what volume you want. You'll notice many of these air significantly louder than 15. You can just experiment and play around with. This is Well, what I've done is I made a copy of all these files. That way, if it doesn't sound good, I can always turn it back to what it waas. I have the building now to click on Run and this has export settings and I don't need to export this right now. We just will select all of these and hit the run button in the lower right. And what it will do is process all of these and you'll notice now it did all of those four files. All the four files are now minus 15 db in total loud and to total are a mess then and loudness. It has different ratings from negative 10 to negative 12 and the true peak on all these is down. Teoh anywhere from negative to or negative one up to negative four if I want to Now I can go lower That move the true peak Farther away from zero, I can select peak amplitude and put peak volume minus two or minus three. Now, this will kill some of the transience, for example, drum hits that might peek up louder. And for things like audiobooks, you definitely don't need any of those transients. And from music, you might want a bit more range as an example. Just set the true peak here, too, or the peak to minus three. Then the true peak comes through a little bit louder from some of the transients. And now the loudness actually significantly altered here. And it got the total. RMS actually got louder on some of these. And if you decide you want to undo it on these, you are not able to undo a batch process like this. However, these files are not saved, which means I can just start over any time I want to. What I can do also is here how this sounds after I've made the adjustments and we can do a before and after. If you want to hear our before and after on this, I can do a before and after on the got it all figured out. Weaken. You cannot use the original file at the same time just by dragging it in so we could play a before I could play before sound directly off of the file and quick time. And then I can play the after sound directly as it's edited before it saved right here. Let's hear the difference in the volumes on these really quick. That was the 1st 1 without any volume adjustments. Let's check the 2nd 1 Now that it has volume adjustments, I'll select the file. And here in audition, I've got the loudness setting up. I've pulled the bar appear so you can hardly see it. But I'll open the play button up, and now we'll hit this play button to get it. To make this edited version of it. That's quieter play, and we'll go back again to the original version. - The difference is pretty subtle because we didn't change the volume a whole lot you can hear on the edited version. The kick is not slamming in so hard because that's been taken down several decibels. You can also here in the beginning that the piano sound is not quite as loud. You can hear the difference in making these volume adjustments, even though these were pretty small. If we made some drastic volume adjustments, let's just do that for an example. If, say, we set the peak volume to something like Negative 10 which would be way too low and you never want to do that, which is why we can do it in this course. Just as an example, Let's hit run! And now let's hear it when you've taken the peak volume way down now that just took the peak volume down. If you go back to the beginning, play it. If there if you see that, took the peak volume down significantly, However, the sounds that aren't as loud still are very similar, if not the same. You can see how powerful this is to quickly change the volume. I'm many different files at once and to get everything uniform. If you're making a podcast, you want your audio uniform. You don't want one episode to be really loud in the next episode to be really quiet. If you're working with a client, they're going to want the volume very similar on all their files as a listener. It's very annoying to hear that inconsistency, where one podcast episode or audio book chapters really loud and another one is quiet. This is an important task you want to be able to master to, ah, use Adobe Addition and to be able to serve clients who've got lots of files. The last step on this. You can simply save all these files if you've already copied them as I've already copied them, you can simply save all these files. You can just hit, save and on each individual file. If you want, you can hit, save all, and it will go through and save all the edits on these files. This is why it's extremely important to make sure you make a copy off all the files you want to work with. That way, you don't accidentally modify all the originals because, as I showed earlier, there's no undo function on this. Once you do up a batch process on all the files, you can't click, undo if you don't like it. If you want to make sure you do the safest route you could copy at each step of the process . That way you wouldn't have to go back and do it all over again. My way of doing this is I just test out exactly what I want done. When I find the exact recipe, then I start over and just do the exact steps I want. What I do for audiobooks, I set the total are a mess, too. Negative. 17. Then I set the peak amplitude too negative. Three. That's the same process I use on every single file. I got to that process by testing out lots of different ways to doing it once I settled on that process, Then I run that same process all the time on all my files for music. I clearly need a process like that to get the audio a little more consistent. And I'm grateful with Adobe Addition. It's so easy to do that. 13. Best Effects Presets for Beautiful Vocals: Are you ready to make amazing sounding vocals in Adobe Addition? What will do here is show you my presets that I love to use on the effects. My process to make average sounding audio sound amazing in Adobe Addition. In order to do this, I actually need to use a clip recorded from my phone because I've got a professional ari 20 mike that already has effects applied to it directly. When I record in for you to hear the best difference you want to hear before and after using some lower quality audio source, let's drag in. I've recorded a quick video from my phone to use as an example. Adobe addition allows me to very quickly take the audio out of that. Greg dragged that in, and I'll give you the sound of the original audio, and we'll watch what happens as I apply effects to it today on the jury Banfield's show, we talk about how you can become a millionaire, starting from $0 there. That's before I put any kind of effects on it. The first thing we want to do is take out any background noise because background noise will lower the quality of our audio a lot for our users. I already recorded this audio to begin in my professional studio, which is set up to minimize any kind of outside noise. And I've got a lot of sound boards, things like foam. I've got a heavy floor on it, thick walls. It's set up to give you a great recording experience. To begin with, I turn the air conditioner off so I can sweat. There's not a lot of noise to begin with. However, I'll take out whatever noise there is first bike doing the selecting a silence on here, then for effects. We want to go to noise reduction, capture, noise, print. We will now have this section as the noise formula. This is the adobe additions idea of what noise is. Therefore, you don't want to ever select any of your vocals. You want to make sure you select something that is pure noise. Now when we go over to effects, will hit noise reduction, restoration and we'll go through noise reduction process. Click on noise reduction process. I use log rhythmic. That sounds great. Hit. Apply now it's taken out any of the noise in the file. There wasn't much noise to begin with. In my file, you're not likely to hear a huge difference. I'll show you whatever difference there is today on the jury. Banfield's show. We talk about how you can become a millionaire, starting from $0 there. You didn't hear much of a difference to start with because I didn't have much background. Nice. However, if I'd had an air conditioner or something in the background there, it would actually take out a lot of the air conditioner sound. Beware of recording in a noisy environment if you use the capture noise print. It can also take out your voice if anything. For example, the air conditioner and the voice. If they have any frequencies in common and the noise includes the air conditioning, air conditioner noise in your voice overlap. It'll take your voice out. Make it sound weird. Next, we want to cut this down to a smaller amount of silence. I'll just delete that will go over to the end and delete this. Now we've got more of a peer clip toe work with the next thing I want to do on this. It's right now just recorded on my phone. We're going to go over to the effects rack and set up a series of effects that will put on that. Then if you're recording in the same environment, you can put this series of effects on and run them over and over again. The effects in the effects rack go in order from 1 to 16. Whatever they run in the order, you put them in. Let's put on the first thing we want to do is go through. You can put a de Esser on a de Esser is nice If you'd like to take the s sounds out of your voice. If you're volumes not loud enough, you can put on amplify although you can always do that towards the end. What we're going to start off with is a parametric equaliser. We will go find the Parametric Equaliser and filter and e que that is under Parametric. Equaliser will put that on first. We'll put on vocal and enhancer on this. This will roll off the low end frequencies that we don't need. My voice when I'm making sounds is not likely to be making sounds that are in the 30 or 40 Hertz range Therefore, we don't need that for the vocals to sound good. That's likely just cutting things out, like computer hums in the background, even subtle little noises that on a louder speakers you able to pick up. It's also taking down some in the mid range, boosting some of the lower sounds I'm actually likely to say and then bringing up some of the sounds at the top. That's the first effect will do the vocal enhancer. Let's hear the difference after I apply that. What you can do is put all of these. I'll do these individually so you can hear the before and after difference. What you can do on these is pick an entire group of presets. For example, you can use ah vocal leveller noise gate. It'll put these on automatically you can if you want to sound like a boxing announcer, you can put these on. What you want to do is get a preset like I use this, a c X one preset for my already recorded professional audio. All I need to do is use the dynamics processing on here with a compressor at the top of it to make sure I don't get too loud. And when I do get so loud and really excited, it compresses that into a smaller range. I have these presets and then I just apply them on every single file you want to set one up that works specifically for your own studio. Because if you just try and use my exact presets, but your studio in your voice sound different, it won't sound that good. And I understand some of you just give me an exact formula. It works all the time. I'll give you a general recipe. You may need to tweak it based on your unique sound and your unique voice. I've got also this podcast voice that has some adaptive noise reduction speech volume level dynamics processing and a Parametric equaliser and a hard limiter. Since I already did the noise reduction, I don't want to do this adaptive noise reduction. Also on this one, I've got a speech volume leveller. It makes the target volume leveller 19.2. That way it is bringing up the sounds, the parts that air not as loud and it's putting down the sounds that are too loud. It makes it Almora about the same level, then on the dynamics processing here I've got a heart. There's several different things going on for the very low sounds. I've got an expander on here to bring up some of the lower sounds, and then I've got compressors to bring down. Some of the higher sounds help focus the audio in the same frequency. This way you get a more consistent audio experience instead of my voice bouncing way up in the air and then coming way down where you can barely hear. This is very helpful because some narrators will do real quiet and just talk like this and then get all loud and excited for extended periods of time. And that could be really annoying. If you're listening to the audiobook or podcast, you don't wanna have to turn your volume down and turn your volume up just to hear it. And that's what dynamics processing does. You got a parametric equaliser on here. I talked about that earlier. To roll off those unnecessary low ends can boost the high end on it, then the final effect you're always going to need. This is a hard limiter. Make sure you don't ever go over and If you want to be a little more cautious, you can put the hard limiter down a bit. Mawr, for example. One negative one. You want to make sure you never get over in over zero at all, even a little bit, because that'll clip and make it sound terrible and have these weird sounds, clicks or pops that so annoy. You want to make sure you never do that. This is the effects preset that I use as a default. It brings out a beautiful sound is called Podcast Voice, and I already took the noise out manually. Then it's got speech volume, leveller, dynamics processing, Parametric eat Q and hard limiter. We will apply the sounds and look at how the wave form looks different. With these applied, you had applied notice. If I click, undo, notice how small the wave form is here that we cook on, apply and buy small. I mean, there's less deviation, and it's not as loud in a lot of spots, which we want the volume to be as loud as possible. While sounding good and not clipping this audio. Listen to the difference today on my jury, Banfield's show. We talk about how you can become a millionaire starting from $0. Do you hear that? How that sounds versus if we undo that, Listen to the difference today on my jury. Banfield's show. We talk about how you can become a millionaire, starting from $0. You hear all the 2nd 1 Once I apply these effects sounds a lot more professional today on my jury, Banfield's show We talk about how you can become a millionaire, starting from $0. This has a lot more full feel to it, the way you would listen to, ah professional D. J on the radio, the way you'd listen to a well produced podcast show or audiobook. This has that sound that you're going to get very excited about audio, often for the average lister is not something they consciously think about. All that audio sounds great. They don't when you apply these effects soft and more unconscious, people think, Oh, that sounds good. They don't understand why exactly sounds good or why they like it. It just has that feel to it, and with the effects I just showed you that you can do on the podcast voice. I also have a podcast. A different podcast set up I use here where I used 1/3 party downloaded plug in to use this . But I'm This one is all included. It does a great job with it, and everything is directly in adobe addition for you to use. I appreciate you watching this. And I hope this cell phone to give you that beautiful sounding audio that you can even record on your phone to make a professional sounding podcast or audiobook of whatever. 14. Punch and Roll Recording in Adobe Audition for Quickly Fixing Narration Mistakes: are you ready to do? Punch and roll recording? In adobe addition, you will find a punch and roll. Courting is really helpful for you if you need to get your audio exactly right. If you consistently make mistakes and you want to very easily go back, punch in right before you made the mistake and then keep recording or rolling all the way through the take. Let's show you exactly how to do punch and record punch and roll recording. Now there's If you go to the recording, you right click. You've got the option to do instant record moan, punching, role road or times record alone. It's their record mode. As soon as you click the button, it will immediately start recording wherever you're at. This is nice and we'll do an example now a hit up space and it just starts recording right where I'm at. Let's pretend I just said something really stupid or off the script, and I need to go back and fix it. If I go to instant record mode here and I click on instant recorded will just immediately start recording right over what I already did. That seems good in theory, until you try and play back the whole audio, and then you'll hear how unnatural it sounds. If you just skip straight into recording, especially if you're in the middle of a sentence or you're needing to be in a certain characters voice, it could be hard to just go instantly. Get into that punch and roll recording allows you to talk through with follow along with what you already did correctly and jump right back in, whereas with instant recording, if you try and go back further, for example, let's say I messed up right here. Let's say I messed up on the far end of this. If I needed to be a character or sound just right, The last big silence I have is right here. If I did an instant record, it would record over all of this also, and if I did that correctly, I don't want to record over that because I might mess that up and then I need to do all of that again with punch and roll recording. You can just come into the exact spot you want to drop in and you can narrate along with it . It gives you some time to play back what you previously did. Let's pretend I want to record straight in here and punching and record over this. But in order to do that, I want to narrate along with what I said before and then just start recording exactly where I need to do it better. If I hit the punch and roll record, which I select over here with right click pick, punching roll mode, it will go back and play the audio like this space, and it just starts recording right where I'm at. Now I have the chance to come in and say the audio just perfectly. You notice I spiked the audio a lot there with punch and roll record mode. If you mess up the take and you're not happy with that, you just hit it again Space. And it just starts recording right where I'm at now for this Take. I'm definitely going to do it right, And I'm not going to come in super loud and we're going to give a lot better recording experience now. You noticed it actually stopped recording. If you just select it like that, which is not ideal because you want to keep rolling. What we're going to do then, is you can actually delete all of this and just hit Puncheon right where you want to do it . If you know, that was a bad take and you want to just keep recording indefinitely after that, just click punching race and it just starts recording right where I'm at. Now I get to keep talking and there I don't like how loud it got right there. While that's way too loud, just delete that again. Space again. It just start started boarding right where I'm at. The beautiful part about this is you're ready to keep going and make a successful audio recording without having to stop your workflow and do a full editing job. You can just jump right back toe wherever you messed up, punch in and keep going there. And it doesn't disrupt your workflow a lot. This is very powerful. If you're a beginner and you make a lot of mistakes, a punch in roll record mode will keep you recording quickly. Just jump back now. The one thing you've got to do you notice I was able to continue recording a long time there. The one thing you will need to be able to do is make sure it transitions well. The idea with doing the puncher McCord mode is that the listener can't hear when you switch from one recording the first take to this new recording. The second take, Let's hear the transition courting right where I'm at the beautiful part about this now you noticed there were a couple of breasts that were taken there. One strategy Aiken do for this. I can select all of this, and I can go to insert silence, and I will take out the that will silence the entire selected portion, which is ideal. Then I can also shorten the gap if I want to. That's ideal. If right there, you could hear there was too awkward breasts, you could tell there was a breath at the end of the last one, and there was a breath at the beginning of the new one. Now, if I play that through right where I'm at the beautiful part about this perfect, smooth transition, no issues right there to me, I like doing that silence because it just drops it down. Now, if you've got a little tiny bit of background noise or some kind of a sound where if you've totally silence it, it will sound like you silenced it. Another thing you can do is just faded. You can fade it in and out. If you use these failures on the side, you can fade the part of the clip where you start the punching. You could fade it in a little bit and you contest that and see whatever sounds the Beth. I'd like to just do silence because it just goes to silence and then comes out of silence for the next recording. However, a fade in might sound better for you. When you're doing punch and roll recording, You can choose how long you play before it. Let's say I messed another line up right here. At 14 seconds into this, I've got mindset at 10 seconds. That way, when I hit, I hit the punch and roll record before. Part about this is you're ready. Teach going, going maybe makes us exceptional. Audio it in court without having to stop your workflow there. That gives me a lot of time to go back and continue near rating how I was before and then when it's time to punch in. I've already been talking for 10 seconds. I'm very naturally in the flow of whatever I was saying. You can go to this by going to adobe. Addition, preferences, playback and recording. You've got the pre rolled duration. You can change this to five seconds is the default. If you do five seconds, it'll punch in. It'll go back Audio recording five. So having you see how it went back five seconds from whenever I'm going to punch in. If you want Longer than that, you can go to preferences, playback and recording, and you can do 10 seconds. However long you need. You'll be able to just let that so that if you want to be able to punch in at a certain time afterwards, for example, of you need 10 seconds to get yourself in ST and reading the script and then be most natural soon as it starts recording, you can do that. If fitful part about kind of record button, you're ready to keep going and make a successful audio record. You can totally select that, and if you don't have 10 seconds to go back, it will just go back to all the way to the beginning. For example, if I set this right here and I click punching face and you notice is four seconds, it just goes back to beginning. You now know how to use punch and record punch and roll record mode in the adobe Addition, File Editor This is just for an audio file. If you want to do a multi track session, you can actually capture every different take. And if you want to get it exactly perfect, and you need to do five or 10 different takes to get it perfectly, you can listen to each different takes and see which one you like best. You can switch them in and out of the multi track mode. And here which transition is the best for me personally. After all the audio books I've narrated in all the videos I do, you don't need to do it exactly perfectly. In fact, it's your mistakes that make you a bit human. Punch and roll is a quick way. If you're narrating a book or doing a voice over too quickly, just keep going while not having to totally start over at the same time, I don't think you want to get crazy with it and use it as a tool. The record 10 different takes and get it just perfectly punching roll. The goal is to do a great job on it as fast as possible, because your times your most limited resource. There's lots of money in the world, but you've only got 24 hours a day. You're probably going need to sleep a lot of them. That's what this punch and roller cord modes great. If you're newer to near rating or if you just consistently don't get the words exactly right, use it and make a great audiophile without too much effort editing. 15. Fade Audio In and Out: you are about to learn how to fade audio in adobe Addition, this is a very valuable skill if you need to transition between editing. For example, if you're narrating off book and you just mess something up, you can fade in. When you punch and roll record, you can fade that part back in. If you're making music, you definitely want to be able to fade in the beginning and or the end and control the volume throughout the music. If you're mixing a podcast, you want to be able to fade the volume at various points on each different part off the track. In order to do this, I will show you how I start from scratch and get to the fade. Click on Multi Tracked Will Do. A new session will use the podcast template again. Here's our new session. Now we need an audiophile. Music is one of the main things you're likely to want to fade. Let's bring in one of the files from my music here that you can fade in will do this. Got it all figured out Song. I will pull this into the music bed. Now, it says. There's a nera with that, which means that's the wrong type of file. I didn't drag in the wave, which is good to know. You want to make sure you dragon the correct file for this. Now we drag in the way file. We put it in the music bed right here. Slide this over. What we can do now is click on this volume line. If I stretch this out, you can see it a bit better. There's a volume line, this yellow volume line that goes along the track, and if I click a specific point, I can fade it in her out. Let's play it without being faded in her out. Now let's see how that sounds of the fade. Let's say I want to fade in the first few seconds of this because maybe I'm ending what I'm saying in my podcast. So I don't want the music to come in super loud. I'll click on maybe even up to here. We'll click on this, and now you'll notice it makes a little blue dot on the volume. What I can do is drag the volume around that dot upper down. I could make that part really loud if I wanted an explosive power. Welcome to the podcast. What you usually want to do on a fade is make it quiet. I can start this from all the way down at negative infinite DB, and when we click play, it'll fade the music up to the volume. You can make multiple points for example, if you wanted to fade it pretty loud quickly and then faded a little bit, Maurin. After that, you can just click and make additional points. For example, if you want to fade out, you can click a point at the end and drag it down. Let's listen to how it sounds when you fade it in notice, you don't hear anything at all now the volumes getting louder and louder a little bit at a time, especially if you're using music or sound effects. You want to build a control, your volume like this, and you can just move your point around. For example, if you wanted to fade in relatively quickly and dramatically, here's a zero to everything fade all the way up to full volume in a very short amount of time. If we take this bar Pierre zooming over here, if you wanted to fade in over a period of one second from nothing. Everything. Watch this. Now there's a nice, smooth little fade and sound there from nothing up to almost full volume right away, we slide this back out there than it fades in gently. If you want a faded and more gently in the 1st 2nd you can move it back over like this. Get that point to let's say you want a faded and gently the 1st 2nd then up to full volume . By the 2nd 2nd you can play around the fade until it sounds just right now that Eisley started the song, It didn't just jump in where You think I have faded the initial song more, but I don't like to start my songs out dramatic. You can also, if you want to, you can delete each of these points for you, right click on them. Let's say you didn't want to do that. You can delete all of these now Note. If you Julie all of the points on it, you'll be left, which, with whatever points are on there. And if you're volume lines at the bottom, you'll have put your volume line at the bottom. Thus, once you start creating these points, you can always undo them, and you can go back a lot if you want to undo it from the start. But once you start creating these, you can just delete any of them that you decide you don't want and you'll get back your default volume line here. You now know how to fade in audio in the multi track session. If you go in this session, you'll notice the view looks a bit differently here. What you can do is fade in directly off this button. In the wave form, you can fade in right here on the way form sees little box, you can fade in and you can do it with these different curves. As you move it around, you can fade it in, depending on how you drag the mouse, you can fade in the beginning. And if you go to the end of the clip, there's option to fade. That part of the Clippers well, this has these nice fade controls where you can go up and down with it, fade it in linear or fade it out. This this is fun. You can just play around with this to see again, which makes the exact sound you want to make. This does not have an easy time point to select like the other one does, because it just has those failures by default at the beginning and at the end, the multi track. If you want to do more detailed fading, the multi track is the place to get in and create all those different points, and you can fade it from there. You can also view zoom in on the multi track. Let's say you make a couple of different points here. You can drag these around like similar to the other one, where you can kind of make it, have a curve and have lots of control over what you're doing with your fading. I've went on about fading long enough for you to get see several different ways you can fade along with. You do have these boxes that you can fade on the multi track session as well. These boxes are in the multi track session for you do to use along with the points you've now know all about fading in adobe addition, 16. Copying, Cutting, Splitting, Pasting, and Editing Audio Together in Adobe Audition: Are you ready to learn how to copy and paste audio, along with splitting and editing audio together? This will be very helpful. If you have multiple audio files you want to work with or you want to move around the existing audiophile you've got. The multi track editor is the easiest place to do this because you can work with all of the different tracks. For example, it's hit new multi track right now hit. Okay, you'll see. It's very easy on these different tracks. If I drag in one audio file, for example, I'll drag and a song I can easily put a song in here. I can then record a different vocal and throw it in. Chop it all up and moving around, and I can see where each different piece is very easily. You can also edit on the wave form editor. You can do many of these functions in the wave form editor. However, you just have this one file and one window to work with, which can make it more difficult. The basic way to cut and paste that you can just select a part of the audio file hit, go upto, edit and you can do cut right here, which is command X cut and look, let's say I wanted to put the first half the song over to the last half of the song I can just paste, and now that's very intuitive, easy and obvious. What is more challenging is if you want to adjust the fade on all the different parts of the songs and cross fade one with another and move around multiple different types of audio files all in one. You can edit and chop up in your editor the files just by selecting various parts cutting and then pasting them back in where you want them. You can undo if you've done anything you regret. The wave form editor is not the place to do a lot of advanced editing because it just works with one file. Let's go over to the multi track and we'll show you how to do all these different files together. On the multi track. You've got the ability to do some more advanced editing up in the top. You'll find this razor tool, which will help you cut up your clips a bit better if we zoom in to this part off the song , for example, Let's I want to cut right where the song gets quiet over in this part. I could cut it over here. Then let's say I want to use a particular part of the song is the sound effect. I can just drag that part of the song up here, and I can. Then now that I'm back on this tool, I can also use this. If I show you over on this side, you move the mouse around and wait until it comes into this red bracket. Wait until it comes into this red bracket, and then you can zoom down and crop it so that you don't use the whole thing on the other side. You can do the same thing and crop it down and make a naughty oh file into one small part that you want to use. For example, if I want kind of wanted this to be a bit of a sound effect, I could use it as more of a little tiny part of the specific song. And then I could play the song. Here I am able to fade this song in and out if I want to like that, using the fade tools. Then when I go to play on here, I can zoom in on this one. If I hold over, I consumed this track in to see a bit more clearly. Zoom back over here to get a better picture of the audio file. I could use this as just a little intro sound clip. For example, in the beginning of a podcast, you might want a second or two of music. You might not want a full song to play. Let's say for the beginning of my podcast, I want to use the same song to start out as full volume intro music with maybe a little bit of a fade in the first half. Second and a little bit of a fade out for the first half. Second, let's see how this sounds. They're now I've got something. Let's say I decided. You know what? I think it should stop. Maybe go two seconds. I just drag it back out here, go over. They're now. I might want to fade that out a little more. If you're too zoomed in, you can go up to your timeline here and just zoom back out I'm just scrolling up and down on my mouse keys for that, and you can move your pointer over here to select where you want to zoom back in. Zoom back in over here. Then I'm able to sink this up. If I want this to come in as music right away I can hit play, and now little transition a little bit. A lot of podcast will have Ah, intro music that will come in right at the start. Then you might have your intro. For example, if I want to record my intro, I can go back over here on the wave form Editor will do a new file real quick. This will be the intro I click on record. You welcome to the Jerry Banfield. Show it. Stop now. I've got this whole file on multi track. I'll drag this over into the host. You could have a separate intro track if you wanted. I've got the intro. Welcome to the jury Banfield show. I could put a little bit of music after that. It automatically will snap back and forth to place. If you don't want that on, you can turn the toggle snapping off up here in the left. You can also turn off notice how so far when I've skimmed it makes a little noise. If you don't like that, you can turn that off, appear in the left. Once you've got that set up, you can move these files around now. See how this works. I can fade this one in a bit. So it's not so loud. Let's try it. You welcome to the Jerry Banfield Show There. I've got it this way. And I dragged this over here. I don't like the beginning of this audio dragged that back fade, Move, turn My I've got I don't want the auto scroll on. I definitely do want snapping so I can up line everything up I want the music will crop the beginning of the music off right here. Dragged the music over like this. Now this gives us Let's see this intro Welcome to the Jerry Banfield show. Look at that. What I might want is to extend the music over here and Faye that in a bit more. So it's still going during the intro. It that way it doesn't fade out so severely like it did. And I can also fade it out this way instead of that way. Which means if I fade down, let's hear all this place. Welcome to the Jerry Banfield on what you do. You just play around with all this until it comes out just how you want. Let's say I want now to have a specific sound effect. I just want this to play as a little bit of a sound effect at one point. Make it even tighter there. I could put any sound effect. I've got lots of different sound effects I could put in there. I could throw anything I want in there as a sound effect, and you could put that at any specific point. I could copy it, paste it, throw that in wherever I want to. I've got spice, which allows me to get all kinds of sound effects. I can even drag one of those in right now and grab some random sounds out of here. I've got all kinds of packs that are up here. For example, here's a game sound PAC that I'll drag in a game item on locker item and play that they're Aiken dragged that little sound effect in now check this out. A little sound affecting here will take the music out as an example. Welcome to the Jerry Banfield show. That is not cool. You just dragged these and spice dot com. They have a ton of different sounds. You congrats there, which is ideal for music production. Now I drag my intro over so it matches up with the sound play this Welcome to the Jerry Banfield show. I could play this every time. Just copy it every time I make some great points in What I'm saying is play this player repeatedly. What you'll notice is it cross phase the clips. It'll have these yellow you'll see it automatically applies a fade. If you stick to of eclipsing together, it will cross fade them so they naturally playing to each other because you notice I put these almost right on top of each other. If you listen close, you can hear the cross fade. Oh, that sounds pretty cool. Now I've got my music. I've got my sound effects. I've got my intro. I could start recording my podcast here. I've got the ability to do absolutely anything. I want to Let's say I want to split up my audio over here. Go back to this. Welcome to the Jerry Banfield show. Welcome to the jerry Bit. It makes more sense with the music. I'm doing this all just on the fly to show you exactly inside how riel workflow goes Because this is how it is You just play around that Get it Exactly how you want Have fun with it. No need to stress Take this out on the song I already split the song out here If you decide you didn't like how you split at what you can do is just drag it open even if you cut it. For example, I used the razor tool cut right here. When I click back on the move tool drag the music out This way I can decide Oh, maybe I don't want to cut the music right there. I would just want to play the second half of the song again. I can just drag it out now I've got the first half in the second half of the song. Then I've got where I cut originally the second half of the song. I could even cross fade these together. For example, if you want to do a deejay mix, this is perfect. You can cross fade the two files together that you've selected. For example, if I make this play right here and field show Luger play head sometimes just notice how they're both playing and once fading the other theme music. Notice how this one was still playing and this one was starting and it faded the one out and it faded, the other one in very naturally. If you've got multiple songs, you want to make a deejay set, you can very easily just drag them over top of each other, and it will put a very nice fade in automatically for you. You now see how to cut and copy paste clips, split clips, move clips around duplicate clips. Even with you. Just one sound effect on one piece of music. You can make some very interesting sounds when you combine it with multiple sound effects. Bring in music. You could literally deejay on entire set for your podcast out of this, make sure you have appropriate copyright before doing anything like that. I'm using all my own songs and vocals. Then I've got sound effects that I've licensed through spice. I'm excited for the chance to help you make some amazing sounds, and I hope this was useful. 17. Multitrack Session Basics with Podcast Template on Adobe Audition: Are you ready to learn how to record a multi track session with Adobe Addition? You find this extremely helpful if you want to make music or to put audio for a podcaster on audiobook, any kind of audio that has multiple sources and lots of different files. You can use a multi track session to combine everything into one file, which will make your life a lot easier versus trying to do that in the editor. I'll show you how to start a session, go up to file and click on new multi track session or just hit command, end or control. And depending on what you're on, I'll do a podcast. Demo example. Its a little redundant, isn't it? I've got the template selected as podcast you can do, Ah, full rock band, Empty stereo session deejay Drop 24 track music session. The main thing you'll probably be doing out. Imagine his podcast with this because that seems to be where you could get a lot of clients . However, there are lots of other templates in use. We're going to use the podcast template here and hit OK, What you can see now is we've got to four different tracks and then a master. We've got the host or the person who is doing the podcast. Then we've got the interview, the person who is appearing the guests on the podcast. We've got sound effects, music, bed where you can put music and and a master. Let's say you also have sponsors. You could insert a new track here. You can go to multi track tracks, ad mono stereo or 5.1 audio track or bus. When will do is put a stereo track in here will go over and rename this to sponsor. This is now ready for you to put in anything you've got from a sponsor. What you can do with this basic set up? I just put that to none will prepare this for files. You can set this up now where your audios Here, the interviewees here, sound effects. Come up here music and adds, Come up there and you can put all this out into one single audiophile. You can put different effects on different tracks. For example, if the person you've interviewed needs to be processed differently than your audio, and if the sound effects and music, for example don't need any processing. You can do all of that independently. If you want to actually record on this, what you need to do is select an input device. You click on here. The arrow this way is what's coming in then that's the arrow going out the basic set up. All these have none to start coming in than they send out. Everything goes to the master than the master is what'll output into an actual file for this will select mono input from my scarlet to I to And if I hit our for record that will arm the track. If you try and record without hitting our it won't do anything. Thus, you need of select your microphone whether you want it audio or mono or stereo. You then hit our toe arm the track. If you hit s, that will solo a track. Which means if you've got multiple things playing at once, let's say you've got background music and sound effects all coming in at the same time. The interviewees laughing and you're talking as well. If you had solo, that will just play that one single track and in a mute everything else which and music you want to do lots of times to ensure you are hearing what one instrument sounds like by itself versus hearing the entire composition. What will do here is record in different parts of this. Then we can move it around into the project. For example, let's start off right now and say, This is the introduction of the podcast. I can. Did it stop on this? Let's say that's not a good introduction. Let's do an example Podcast introduction. You are about to experience the jury Banfield show. There's the intro. I could put that on the host, or it could actually put that and drag this over onto sound effects if I wanted, because you might have the same intro on every single one of your shows, as some podcast do. You could even call that sound effects. I can play this on another track, even though I'm not recording, you are about to experience the jury. As you heard. I'm able to play that on a track that I didn't record. You can. Once you record in the multi track session, it starts making all these files for, even if you delete them from the timeline. That first file I recorded over here is listed as host off underscore zero there one dot web. When you record all these different files, you even if you delete them, you will start to amass lots of different files in Adobe Audition very quickly each time. Your record. Which is why I generally prefer recording an individual file directly in a single file view instead of having it in here. However, for this demo, we're going to record all the different simulated parts of this. Let's say I did the introduction right here. Now I want to use some music. I'll go over here and grab my song into the music bed will drag this out. And now let me show you how this sounds when you put the music here and the intro There you are about to experience the jury Banfield show Perfect. Now you've got that I can shrink the song down in here. Let's say I don't want this whole thing to play. Then I I can use this little yellow arrow kind of bracket comes up here on the end. I can use that If you're towards the end, I can drag the song and if they don't need that whole section to play, I just dragged that in, and I just want a little bit of the song to play. Or what I could do is drag this out and turn the volume down a lot so that it could play in the background. You can even do both of those with that at the same time. If I want to copy this, drag that down over here and do allowed intro, then paste it and have it his background music. You could do both of those. If you wanted to, you could individually turn up or down the volume on this. If you could have these on multiple tracks, for example, let's say I want to drag this one over on the sound effects. Then, on this one, we're going to turn the whole track volume down. Let me slow down, make sure keeping you with me. What I did is I took the beginning of the song, use a little red arrow on the side and just put the beginning of the song. And now I want this to play in the background, but not as loud. What I'll do is turn the volume way down on this track over here. That way the musical play, but it's not going to be nearly as loud. I just want in the background. Let's play this to see, hear how it sounds. You are about to experience the jury Banfield show. They're what I'd want to do also is probably cut this one over here and just have it. Come on gently in the background. What I've got. Aiken, turn this down even more now. I've just got some nice, subtle background music while we're talking, I'll record over here and simulate what it would sound like with that background music on. I will now hit the record button you and you'll notice if you hit record and we'll go play the song. And I don't want to record the song over my voice. Therefore, we what we do delete the file just recorded and will so low this so it won't play anything else. Now when we record, you have just joined me for an incredible episode where we're going to talk about the most amazing person in the world. Jerry Banfield. He's going to interview himself on here, all right, I gotta just stop that or I'll just talk about myself. A little tuck. Now you can turn off the solo and I'll give you an example of how this podcast will sound with the background music. With just a little quick playing around recording that we've done. You are about to experience the jury. Banfield show You have just joined me for an incredible episode. What? We're going to talk about the most amazing person in the world. Jerry Banfield. He's going to interview himself on here. Ah, all right. What we you can hear? I've done some things that have made this not sound so good, somewhat, intentionally, somewhat naturally. And I won. Now to clean all this up to make it sound better, you'll notice this comes in with some extra noise in the background and we don't want that extra noise. What we can do is we can clean that up. We can just crop this over here now. We're not hearing that. We don't hear that extra noise. We can double click on this to jump into the file. In the editor itself, we can simply scroll over and delete that here we have changed as it just showed us. We have changed the duration of the file, which now the file is a different link than it was before, which is good because we wanted to be a different length. Now I'll move this over to the blue line so it comes in as soon as that intro music hits. If I want to do some things like, for example, noise processing. For some reason, this is recording in mawr background noise that allowed or volume than because I'm not using my normal audio processing effects when this is recording in that I've got in O. B s already. What will do over here is capture the noise print. From this, we go up to effects, noise reduction, captured noise, print and leave that once elected. Now we'll go back to effects. Noise reduction process. Log Rhythmic Channel one killed, extra noise in the background. Now we'll go back here and this has been noise processed. We see there's extra will double click on this again, go over and cut the end of this off and I'll turn that alert off. It's telling you that because when you're changing the length of the file it is modifying where it's at in the track for you. Notice it now, if you had, it's out of sync here with what is in the rest of the track. So we'll dismiss the warning here and you've got this file and then it's It's different. So if we click on this, you'll see the file looks good the way we want it. Now what we'll do is play this after we've processed the noise on it and we've got the introduction and the sound effects and we turn the music down a bit more. You are about to experience the jury Banfield show. You have just joined me for an incredible episode where we're going to talk about the most amazing person in the world. Jerry Banfield. He's going to interview himself on here. Nice. Now I can hear that. I need to move this over just slightly because the music is still. I can move it just slightly over here. Leave a tiny bit of silence. Between this, we can zoom in on this section, using the bar up here. We can zoom in to get a better idea of what's happening in our track and because That was kind of loud right there. What I want to do is not exactly perfectly put it in the middle, but give me just a second and we'll crop this. So there's not that audio silence. Now let's hear all this sounds with that edit. You have just joined me for an incredible episode where we're going to talk about the most amazing person in the world. Jerry Banfield. He's going to perfect. Now that sounds a bit better. You can also do things like Apply some fades to get the so the volume doesn't make such a sudden adjustment all at once. You could split the song up and have the volume consistently go down if you wanted to. There's a lot more you can do, and we've already been pretty deep into this. What you can see is that from here I could go record. Let's say somebody I could record an interview. I could record in a sponsor's ad, and then all these would go out to the master from here. You can put your multi track session together one element at a time. Then when you're all finished with it, you can export one single file out of the multi track session. You can mix the files. There's a lot more you can do from here. We've just scratched the surface and I'll wrap it up here to go into further detail later. 18. Applying the Effects Rack to Add Compression and Limiting: Are you ready to learn about the effects rack in adobe Addition, if you want to make your audio sound of beautiful, the effects rack is one of the easiest ways you can consistently apply the same processing to any different audio files. You have to get your audio sounding amazing. What the effects rack has is has presets that you can use, and you can customize this ah lot to help you apply the exact same audio effects. For example, if you want a limiter, if you want to roll off the low end if you want to process a female vocal or male vocal, if you want to have some fun with it and make things sound crazy, you can do that with the effects rack. What I do on my effects rack is I keep things simple. I have this affects rack for a C X. All it does is dynamics processing, and make sure if the volume gets too loud, it makes it quieter. That way, if I'm getting it, puts a compressor on for the loudest noise and compresses it down so that it won't allow the volume to get too loud, and then I've also got a hard limiter that if somehow the volume gets through the compressor, it won't allow it to clip. Because for recording my audiobooks, the main thing I don't want is clipping because that's just sounds horrible. And it's one of the lowest quality things you can do in your audio. Thus, I've got these this compressor and this hard limiter on to make sure I don't clip. You can also put on a lot of things to clean up and level out of voice over. I had this podcast on here for dynamics processing, a hard limiter and A and S one. If you download some extra plug ins that you think make things sound better, you can try these out, you might think. OK, Jerry, just give me. Give me an exact formula I can use to make my audio sound great every time. What you can do is go through the effects and find your own formula because, as I've learned by trying to take other people's formulas, it doesn't work because every sound is recorded in a unique place. If I copied the effects as I did from another author originally and trying to use them in my studio. It doesn't work because that author studio and that off there's recording equipment is not the same as mine. When I need to find is a set of effects that works great for me in my particular studio and sounds great on all devices. What I recommend you do is go through the learning process of trying different effects. See what you can do to get your audio sounding the absolute best player back in earphones, on speakers and on different devices like your phone, a Bluetooth headset or in your car. Find an exact effects rack that works for you to make beautiful sounding audio. Then use that in your same recording location. Every time on every file you'll get a consistent listening experience, which is very important for voiceovers or audio books. You don't want your audio in Chapter one to sound different from your audio in Chapter two . Then you just apply the effects rack every time, and it'll process the whole file. I will take a look at a couple of examples of the presets. The basic things you want tohave on an ideal effects rag are the following. You want to have a de Esser A de Esser cuts down on those s sounds which can carry a lot in a microphone. And I actually don't have one on because I had a de Esser on. I had all my effects done before the audio even came into the computer. That's why on my old presets, there is basically just a hard limiter and a compressor for the higher volumes. I already had all the rest done before the audio even got into the computer. That's an ideal set up. However, if you don't have an ideal set up, you want to get an effects rack that does the best for you. And I'm still working on getting my new ideal set up now in O. B. S with different plug ins and testing out, you can do good audio without doing every single one of thes. The most important thing is that you have a hard limiter. The hard limiter is the most important affect your going to put on. You want to make absolutely sure that your audio does not clip and one way to do that is to set the maximum amplitude, and I recommend actually said it a bit lower like minus one db. You don't need to go over minus one db in your audio because if you go over and you end up clipping, it makes an awful sound. It annoys people on a subconscious level and sometimes on a conscious level where your thinking on this audio is not very good. I don't like this. It's poor quality, especially if you're doing voiceovers audiobooks. The hard limiter is the one effect you always need to make sure toe have on that way you never go above zero and you never clip and make that awful clipping sound when you've got these other ones. These can just help your audio sound that beautiful podcast e processed audio sound that you probably like to hear on some of your favorite podcast. You can achieve that with the following. A. De Esser will help you remove those hard s sounds that you can hear. They carry a bit through the microphone. Ah, Parametric Equaliser will help you roll off the low end, which is important if you've got a female voice especially and if you're a male voice, you can set this down a bit further for example, if I go over here to male voice over the Parametric Equaliser just has a little bit lower frequency that it's rolled off at both of these equalizers. Roll off the low frequencies where you're not going to be talking in that low of a frequency. Your voice won't be creating anything, and therefore, if there is anything in there, you just want to roll it off, meaning mute it. If there's a frequency for a male below 35 hertz or so and for a female voice, if it's below about 49 hurts. You don't need that in the voiceover because that's likely just some background noise like a computer humming, and it'll lower the quality of your audio. Having that on there, a parametric equaliser is nice. Also, if you need toe lower or boost certain frequencies, you can play around with that. See which one sounds ideal for you. I recommend you've got the di Essere, the Parametric equaliser. You can also use a speech volume level or if you've got points where you're talking really loud and other points where you're talking pretty quiet and you want a nice, consistent volume, you can adjust this, for example, few want the volume to be kind of the same. You could set, for example, 30 db, And if you want the levelling amount, you can set how much you actually wanted toe level. Then you can set the target volume level. You can play around with it. The best way to get all this is just play around seeing exact formula. That sounds great to you. And once you've got that formula that works in your unique studio environment, then you can use it over and over. And the five these go in order. That means you apply the DS er than equalizer, then the volume level, then the hard limiter. Whatever you want, the hard limiter On last, you can look around and see if there's anything. For example, I have this podcast voice on here. You can also do adaptive noise reduction. You can automatically do things like reduce some of the background noise that it can help you clean things up a lot. I had that on in my podcast. Voice affects rack, then you hit. Apply, and it'll run all of those through your audio. Let's take an example with Julen. Are REITs audio here, we'll put this podcast voice preset on here. Adaptive Lee goes through and takes out the noise out of the background. It levels the speech. It doesn't dynamics processing where you can see the it has a compressor and expander on here if it's really low and if it's really high, this helps focus the audio in a certain range, and that helps you get that nice podcast sound. It also has this parametric equaliser to roll off the low end, and this one actually boosts the high end up. You can use these different presets on it. For example, if I do vocal enhancer here, that's already the one it's on if you want. For example, if you're doing rap vocals, you can bust the low end. But I already had the vocal enhancer preset on here. Then the hard limiter. If you hit apply, I will play it before and you can hear the difference on it. I mean, I just kind of I saw I just looked at my stats and I'm like, 0 28 views, you know most people would get that's the before will hit apply. This is going. This is going through and processing all this. Now we'll hear what it sounds like after playing, and you can undo this. I recommend save a file if you need to. At the beginning, in case you accidentally save it used an original and then save it into a new one. Let's hear the noise processed. The effects rack process one. I mean, I just kind of I saw I just looked at my stats and I'm like, 0 28 views. You know, most people would get upset at that and think that video sucked or they need to redo it or deleted or do something with it but not be pleased with the results. You can actually undo this. Also playing back to hear a comparison. I mean, I just kind of I saw I just looked at my stats and you play it again here, like 0 28 views. You know, most people would get upset at that. It's a subtle difference, and audio is all about subtle differences. Ah, lot of people's audio experiences more subconscious meeting. You don't consciously think all this is great audio. You just think the sounds good. And what I've applied here is a bunch of subtle effects that often aren't very obvious. Where the hard limiter, it's not obvious if it's stopping it from clipping the D s. There's not obvious if there's not an s playing. The Parametric equaliser is not obvious that it's rolled off that low end. It's not that obvious one of the most obvious things that the volumes been boosted just slightly. What is obvious is how you feel when you listen to the audio and you feel now. This was recorded on a phone during a zoom call. Therefore, the quality of the audio you start with as a big factor into how good the end product is going to be. Always better to polish off or audio recorded in with a nice mike in a studio versus audio recorded, say off a phone. In this case, we were doing a call on Zoom. The phone was several feet away from their face. The dynamics processing that I've put on through my podcast voice has made the audio sound a little bit better, and if you just make your audio sound a little bit better, you can make the difference between going from well that sounds all right. That's doesn't sound very good to hear that sounds pretty good. Or that sounds great. You know when something sounds great, but can you actually define exactly what it is that put it on their Most of us can't if you're working adobe addition, you want to be able to look at these effects and say, Ah, I can tell they did some adaptive noise reduction. I can tell the volumes Been level. I can tell that there was a compressor put on that. With dynamics processing, I can tell the Lohan was rolled off. I can tell there's a hard limiter on their on when I start listening to things now, I am having that impression like who That's that's got a lot of effects on it. That's who. They did really good there with the the vocal enhancing, and someone sat there with the equalizer and move things up and down until it sounded just perfect for his specific voice. The goal, especially if you got a podcaster audio narration, is to make things sound beautiful for your specific voice. You can play around a lot with this and something like a parametric eq. You where if it's your voice, you can even raise certain parts of it to see what sounds better, you can roll off. You can try putting things down, play relevant until you love how it sounds. And once you get that down, then you'll have that sound that when someone listens to your podcast, your audio book, your voice over, they just get that feeling like rules. Great. There's no substitute for finding that unique formula that works specifically for you and specifically for your voice, and it can be ever changing and evolving over time if you change anything in your studio. For example, when I started recording these and when I set up my initial audiobooks presets, I had a processor that was doing a compressor, a de Esser gate. It was doing a four or five different effects all before it came into the computer, and all I needed to do was put a hard limit and dynamics processing. Now that just recently went out, which means I'm working with a compressor and a limiter on the O. B s when I'm recording. But I don't have that di essere, which means now we need to go through and set up a de Esser ano Bs and play around fit and get it just right. Whenever you change something in the studio, you might need to modify your effects, which is why it's ideal. Set everything up as perfectly as you can to start with, get it all right, and then do your best to keep it and working order my studio. For years, I narrated audiobooks on my set up without having to change anything, and it was really nice. And now I'm back to upgrading and getting it just right myself. 19. Time Stretching: Here's how you stretch the time or compress the time. In adobe addition, the easiest way to do this is to drag the file you want. For example, I dragged this music file the song of mine over to the multi track. You grab your file, put it in the multi track. Now there's a non option over here next to toggle Metrodome. It looks like a little clock with an arrow underneath it. That's what you're going to use to stretch out the time right here. You click this, and it adds this little white triangle on the far two sides of the clip where you can stretch the time. And what this will do is allow you to pull the time. The clip last in and out, for example, let's say I want to play this song instead of actually cutting it. I just wanted to play faster. I could drag the whole thing down here and actually play the song in 13% of the time. It sounds pretty ridiculous. If you want Teoh drag it out further, you could stretch it the other way and make it play longer and slow it down. For example, right here it plays at almost half speed. You can hear that obviously sounds pretty silly as well. You might not want to drag it to these extremes, however, if you want to slightly slow down or slightly speed up something. For example, if your audio lots of people say I should do my audio on the double speed or 50% faster, if you think would be better for me to talk faster, then wherever you're watching the course, you're able to increase the speed there if you're doing something like a podcast and you normally just talk really slow and you want to speed yourself up than what you can do is drag the time to the left, and that will increase the speed at which you talk. For example, this song is at 100% just under two minutes. If you wanted to speed yourself up a little bit, you could just stretch it and make it less than 100%. That means it's speeding up the clip if you drag it the other way, that will stretch it out. For example, if you talk really fast and people are constantly telling used to slow down slow down, then you drag it the other direction. Make it more than 100% and that will make the clip longer. If you've got a sound effect that you want to play in as a maybe a faster or slower speed, you could take the razor tools and say, Cut out a specific part of the song. In this example, I can cut this out than Zoom in to focus on this part of the song. Throw this over on the sound effects part of the track, and I could try Time. Stretch this one little part of the song to play in a really short amount of time. Then I hit play whenever it's the play. Heads actually over there hit play. See now that sounds completely different than the original piece of the song. If you take it to 100% you can hear the original. Sometimes slowing things down or beating them up can give you fun little effects, which can give you, ah, sound that might be fun to include in your audio. You can also play around for comedy and slow things down. You're saying their speed things up. You're saying to add those kind of effects. You just make sure you've got on this option to, ah, stretch time. What you want to do is turn that off if you're not interested in stretching the time because you don't want to accidentally stretch the time on your clip and then realize you've been editing it in doing everything when it was stretched out. 20. Delay and Echo Effects: Let's show you how to do delay an echo thes air fun effects that can give you a radio or D J sound to your files. Take your podcast the next level using your music and just have fun with Let's go into the multi track session and what we'll do is we'll apply these effects on specific tracks. You'll notice the effects rack is in the left side. We can take out effects if we don't need them, and we can add in new effects. We can go over to delay an echo, and this will put in a delay or echo. The first type of delay you might want to use is a delay where you can make it sound like you're somewhere else. For example, I'm recording this in my home office. I could make it sound like I'm in a big room. So if I add room ambience and I put that on as my effect now, I can record something and I'll show you the difference between how it sounds. First will go into this, make a new audiophile, record something and give you an idea of what this sounds like. Hey, little Mama are you doing? Let me whisper in here. Tell you something you might like to hear there. I did a lot did lost song lyric right there for you. Which is kind of I think it's kind of funny. Drag it over on here. Will play it first will play it without the delay you are Now. We're putting this with the delay on, and in order to do that gets to slide over. Get solo, This one. Hey, little mama, you doing? Let me whispering here. Tell you something you might like. Now notice when I had the delay selected before I put it on the sound effects track because that was the one I had selected. I want this on the host track and it has a speech volume leveller. Aiken, turn that off so you can hear the delay. Then I can go back and put the room ambiance. Delay on again. Watch where you're putting stuff in the multi track session Now. We'll play this again from the beginning. Isn't that cool now, before and after you hear the difference? How that sounds kind of roomy. Go back to the correct file. Start this over your all that just sounds like no, no room very focused on the vocals than this one. Sounds like it's in kind of a room. Like I'm telling it to somebody in a room. He was here. I'm wondering, as I listen to this, I listen to this CD that originally cost $1000 that was put out for free later as a podcast . And it was supposed to be at this rich and fancy location talking about wealth. And now I'm wondering if the guy just recorded this in his studio and did something like add on a delay effect. Let me give you a different example of this Will do another file with more normal audio. You are an opulent place full of luxury. You can see what I'm talking about is legitimate there. I've got the audio file from this, and I will throw that on in the multi track instead of that other one. Now, listen to the difference between these two files here how this one You are an opulent place full of luxury. You can see what I'm talking about is legitimate. Uh, we'll go back over here and here. The difference between how that one sounds like it's done in a stallion studio, and there's nothing else in it. Click Play. You are an opulent place full of luxury. You can see what I'm talking about is legitimate. You can hear how it sounds. A ziff. I'm in another room. I'm talking into an echoey place with a slight bit of delay, which is what you would get if you talked and then had it bounce off walls and come back a bit. You can play around the effects and get some much different. If you go to the delay, for example, and you turn off, turn it on to a different you could turn it just on the left. For example, you are gonna play school. If you want to make a fun sound effect for your podcast, you can play around with this or for your music or for an audio book. You can play around with this and see which one you like the best I don't. You're an opulent place full of watch. There's different options that each year the slab back you can do spatial echo. You see what I'm talking about? Some of these produced mawr or less levels of delay. You can also replace this instead. If you want straight up echo, you can pick one of these settings, son. SciFi cliche approaching there. Let's try that one. You are an opulent place. Forward. You Let's see what I'm talking here. How the echo is playing it back. This ideally works with a smaller file of you would rather do something like delay or echo just in a very small portion. If you've got the delay, you could use in a much longer part of the file. However, for the echo, you might want to use that on just a very small part of the file. Before you go do this here. The difference which just using it on this part you are in a You are in a no note how it actually waits almost two seconds to play it back. If I stretch it out like this, it play it a second time. You're an opulent place. You are an opulent place. You are an opulent place, and it will keep playing it on your blank space, which is something to consider. If you're using echo, you want to leave blank space so it can successfully echo If I change the effect over to a different type of eco, it'll have different properties. For example, if I go over the delicate whispers, we'll click back on it and give you an example of what that sounds like. You are an opulent place. You're an opulent place, opulent place. That's fun. It kind of lowers the volume on it. That can give you the exact kind of affect your looking for. If you are listening to something and you hear a certain kind of effect Oh, yeah, that's cool. Then you can go in and try and replicate that until you get the exact sound you're looking for. 21. Reversing Audio To Create Amazing Sounds: Let's learn how you can reverse audio and adobe addition, you white think. Why would I want to reverse audio lots of times? You could make really cool sound effects just by reversing audio. For example, if you've got vocals, they'll sound totally crazy if you reverse them. If you've got a song are part of a song, reversing it will make it sound totally different. I'll play you to be part of my song, and then we'll reverse it to give you an idea of what that is. If we go up to effects reverse. I look the whole songs backwards That's so cool backwards. I could literally just reverse all my socks and have twice as many. And it sounds really cool. If you listen to the end of that without reversing it. It sounds totally. It sounds the opposite. Listen to the end without reversing. Now here. How cool that sounded when I reversed it and played it backwards that sounded so cool backwards. That's why you reverse things lots of times you can just reverse the sound, and it sounds so much better. Let me show you how vocal sound I go over to new audio file. It will create a new line. Real quick. Happy Easter cannot fill your basket. Uh, that's the actual line from one of my new songs. Let's play it right straight. Let's reverse it. You already heard it. Let's reverse it X ab or you'll be punished Christie even see, that sounded totally different. Especially if you take certain parts of audio for music. For example, you can make some really cool effects doing this ex sad more you upon a CEO. That's why you might want to make something reversed. You can have some fun with playing around with that and see if you can come up with any really cool sounds. I have a friend. He's a music producer, he says. The trick to making an amazing sound is pretty much to reverse any sound. And then you've got a cool sound 22. Shift Pitch Up And Down For A Good Laugh!: Are you ready to learn how to change the pitch in your adobe audition files? Let's take a look at how you can do this. The first question might have is Why would I want to do this if you've got music, this is very helpful if you want to move it up or down in pitch. If you've got vocals, you can do the same thing. For example, if you want to make your voice sound a little deeper, you could take it down in pitch. If you want to make your voice on a little bit higher, you could take it up in pitch, which could be fun for comedy or for adding effects to your voice. For example, you could chop out a specific section of your clip, take it up and pitch. Make it kind of funny. Take it back down. Give your listener the best fun experience. This is very easy to do. You have your audiophile. We start in away form editor with this one. Go up two effects. Scroll down to time and pitch. Go over to manual pitch correction. It will bring up the look of the spectral wave editor here, then you can modify the pitch in sense. If I play the song in the background, you'll be able to hear the difference. As I take it up and down in pitch. I'll start the song in the middle so you can hear it will go up in pitch. Now we're going down in pitch. This is a process, meaning you need to pick what you want to adjust it to and then click on apply, and that will change the pitch on it. For example, let's say Just want to put this up a little bit, Then I I can put it up just a few cents on the pitch or just a little bit down. Then hit. Apply close that. Let's do a different example with a vocal, Let me start a new file. New audio file Let's show you the difference when I increase the pitch of my voice up or down. Stop. Used that file. Go up two effects time and pitch manual pitch correction. Now listen to the difference. I play with a pitch on my voice. Let's show you the difference when I increase the pitch of my voice up or down so you know it isn't that hilarious for comedy. Let's show you the difference when I increase the pitch of my voice up or down, but I just need to fell on my courses on this higher pitch. Help it up even higher. Let's show you the difference. Pitch off my voice, up or down. My God, that's good. See, that's why you want to. Just now you can take it down a whole bunch. Let's show you the difference. When I increased the pitch off my voice up or down, Uh oh, my God, Oh my God, that's Ah! Let's show you the difference when I increase the pace of my voice or down. That's why you might want to do this, because it's hilarious and as soon as you drag it up or down. Now, if you hit close, let's show you the diff notice. That's only a preview. If you just close it and don't apply it, you need Teoh. Go back, Do it again. This is giving you a preview. Let's do my down pitch friends. When I increase the pitch off my voice up or down, Let's go. All right, in applying. Now leave this. Let's show you the difference when I increased the pitch off my voice up or down. That's it. I'm from from now on. From now on, I'm filming my courses with that pitch. You like that? Let's show you the difference when I increase the pitch off my voice up or down. I don't even recognize my own voice right there. This is hilarious. Let's show you the difference when I increase the pitch off my voice up or down. Look, now you can undo it. Let's show you that if you don't like that, you can undo it and change your mind of rather you want to listen to me like that. All right, one more time to put the high one up, put it up real high. It apply, All right, difference when I increase the, uh, pitch off my voice up or down. Oh my God, this is so funny. This is a funniest effect. Let's show you the difference when I increase the pitch off my voice up or down there. See? Now that's that's why you want to do this, because this is absolutely hilarious. You're going toe. Want to increase the pitch, your voice upper down. Just go into effects, use the time and pitch and have fun 23. Starting a Music Production in Adobe Audition: If you want to make music. Adobe addition has you covered in the multi track session. What you can do is click on multi track up in the left and select 24 track music session, which will give you all the tracks you need more than likely to make music in Adobe Addition, when you bring in the wave files that you've recorded, for example, if you've got your vocals, you got your drums. You got your since sounds that you got your base. You can put all those in to each different track. You can apply different effects to each one to bring out the best. Then you can master it all. In Adobe Addition, you can click on mute to mute and individual track, or you can click on solo to solo on individual track. You can even recording vocals when I do with the Dhobi addition. When it comes to my music, I recording my vocals in Adobe Addition or I use Adobe Addition to help me get my vocals prepared to use in another program. I prefer to make my music and able to live 10 because there's just so much more I can do with my music and able 10 live 10. That said, if you already know how to use adobe addition and you've already got the vocals and you've got the drums, if you have them, you got the base. You can just put all the files together and master them. That could be much easier than learning a different program. The basic idea is to use what you've already learned about Adobe Addition. Then figure out the exact right effects to put on each one of your music tracks. For example, if you have vocals, you want to put on effects that help your vocal sound the best. Same thing with drums, etcetera. This is so simple. It seems that I need not even mention it, however, for calling it a complete adobe addition course. I want to make sure to speak to that. You can do music and adobe addition. I don't see that this is one of the main ways it's used, however you can do it. And good luck if you're doing music production and Dobie Addition 24. Saving and Exporting Audio Files in Adobe Audition Original Saving and Exporting Audio Files in Adob: Once you've got your audiophile ready to save, what is the best way to get it into the proper format? What's the difference between exporting and saving files? In Adobe addition, when you export, you're making a totally new foul without saving it back to the original file. For example, if I go to file export file, then this is making a completely new file, and it's not impacting the original file. You can also achieve this same effect if you go over to save, as you can save this as a different file, however, it will take all the changes, and you've put it into another file. If you do export, it will not actually save this original file for saving your files. You want to have them in the highest quality format possible. For example, you generally want to use dot Web files because that has the most information in it, and then often you want to export, depending on your destination and the requirements of whoever you're working for. Smiting the audio files to you often want to export them as either MP three or wave PCM, depending on what is requested. There are these additional formats that may be relevant depending on what you're doing. When I export a file for you can set up presets to make sure you've got everything just in the right format. What I do has set up a preset like this. For example, I know a C X wants the sample rate. Everything needs to be done a certain way for a C X. It needs to be mono 44 1001 100 hertz and 16 bit depth. Then I can save that as a C X preset. Because this way I want to export all of my files in this exact format to be correct for a C X. Then any time I go to export a file, I just go down here to my a c X preset hit. OK, I know it's in mono 16 bit, 44.1 kilohertz. I also have the ability to set the format for MP 31 92 kill obits, constant bit rate. That is what Audible wants via a C X. Therefore, I used that format. I Then when I'm ready to save this, I just hit OK and exports to file. You'll notice when I exported the file. This original file is still unsaved. Since I use export, I recommend you work in production files that follows. You want to work off off, and then you save our export into files that you want to use toe actually upload for those . I'd have mine as original and processed when my original files are the ones actually recorded. Then I saved the process files as the highest quality versions of whatever I edited. Then I have the files saved. Sam P. Three that I'm actually ready toe upload. Sometimes I just will skipped the step in the middle. I'll just use the original files and process them directly into the MP three format for Audible. Therefore, if I ever need to go back and edit or do anything with the originals to make them into a different format, I've got them. The ideal scenario is to have your original recordings than the highest quality process recordings out of the originals in a Web file or wave file. And then you save those if two of the share A bill format and MP three the difference between the Web files and MP three, the Wave files or wild files are much bigger, usually, and often platforms will want. If they're doing audio books, for example, it's much smaller compressed MP three file because when you're listening to an audiobook, it's actually being delivered to the listener in an MP three file. Therefore, that's what the platform wants. Meanwhile, you want to keep the original high quality file because sometimes you can lose a bit of the data when you're compressing it into a smaller file. If you ever I want to use those files in a different format. You may want tohave that original, high quality file that you could, for example, put to a soundtrack on a video. Or if there is a four map, it'll accept away file. For example, when I upload my music that gets uploaded and wave files. If you've got that high quality file, then you can share that. You can keep thes separate by. If you've got a file you're working off of. What I usually do is I'll have an original copy of the file, and as soon as I start working with it, it save as, and I'll save that as the processed file. Then I'll work with the process file and save it as I'm working. Then when I'm done, I go through an export the process file as my product. That way I don't ever touch the original files, and I don't accidentally hit command s or something. And just save over that original file because if you recorded and then save over it with something process and you don't like it or you mess something up and you lost it, then what are you going to do? You've got nothing to go back to. The safe way to do it is you open your original file, for example. I've done this podcast file. I'll just save this. Let's pretend this is the original. I opened the file to start with. Then I immediately hit Save as and I'll save this as processed and I leave it in the exact original format. I got it. Then I play around and do all my processing. Then I can. I'll save that file again, or I can save it is processed version to If I want to have different versions. I don't usually complicate it that way. I just save Save it again once I've got the process version I like. Then when I'm done, I export pull that a c X default setting. And if I need to change this based on where the file was originally, then I export that it comes out Now I've got a nice exported file. I've got my original audio. I've got, like, processed audio and I've got my ready to share exported compressed MP three file. 25. Thank You For Watching! Share Your Class Project and Watch Another Class With Me!: Yes. You watched all the way to the end of the course on skill share. Very nice work. Thank you. For all the time you've spent here with me, I am looking forward to seeing your class project on skill share. When you share a screen shot and text telling us what you've learned from this course and how you've created your audiophile using what you've learned in this course and where we can listen to it, preferably somewhere like a podcast, where we can easily go look at the file just by you sharing a link, I trust. If you find this course helpful, you will leave a review toe. Let other students know what they can expect. Here. I'm Jerry Banfield and I teach online courses on skill share. Almost every week I'm making something new. I would love to make this a lifetime journey with you. When you go look at my teacher profile on skill share, you'll see some of the other classes I'm teaching. Or you can just search for a jury. Banfield, I trust you'll follow me if you want to make sure to get announcements when I create new courses and I value your feedback on what courses you like me to create. You can share that any time in a discussion or as a part of your class project as well. I am intending on creating lots more courses on digital marketing and creative suite applications and adobe and all the programs I used to produce videos to Ah, get audio files out there to run my website. My blawg make books everything to help you be a successful creative entrepreneur online. Thank you for giving me the chance to teach this course. I love you. You're awesome and I'll see you in the next class.