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Premium Upgrade. Clicking on the Download Now Visit Site button above will open a connection to a third-party site. Developer's Description By Adobe Systems. Full Specifications. What's new in version CS6. Expand your creative possibilities with new features including Real-time clip stretching Automatic speech alignment EUCON and other control surface support Parameter automation Powerful pitch correction Tools for efficient session management Expanded output options Loudness standard compliance HD video playback.
Release March 19, Date Added March 19, Version CS6. Operating Systems. Additional Requirements None. Open files after export. Save to the compressed mp3 format only when creating files for the web or portable media players. To see the effect of settings changes, note the Estimated File Size at the bottom of the dialog box. Sample Type available only for bit files. Sets the audio bit depth.
Higher bit depths provide more dynamic range and reduce distortion, though they increase file size and processing time. To determine the proper setting for common output types, see Understanding bit depth. Integer settings clip audio that extends beyond the amplitude range for a given bit depth. Floating Point settings require slightly more storage space, but retain much greater dynamic range.
Choose bit Floating Point if you want to repeatedly process the file and discard minimal amplitude data. See Viewing and editing XMP metadata. Byte Order available only for bit files. Specifies the numerical sequence for bytes of data. Monkey's Audio compresses files to roughly half their original size, using a lossless algorithm that retains sonic fidelity.
Determines the tradeoff between processing speed and file size. Fast processing produces larger file sizes, and vice versa. Channel Mode. Adjusts the tradeoff between file size and audio quality.
Higher settings increase size and quality; lower settings reduce size and quality. For information about Advanced options, position the mouse over them until a tool tip appears.
Choose Constant to apply a consistent bitrate or Variable to change the bitrate based on audio content. Bitrate for constant bitrates or Quality for variable.
Avoid compressing the same audio to mp3 more than once. Opening and resaving an mp3 file causes it to be recompressed, so any artifacts from the compressing process become more pronounced.
The nonstandard Note : To ensure compatibility with a wide range of applications, choose the RF64 format for files greater than 4GB. FLAC format uniquely is both compressed reducing file size and lossless retaining full audio fidelity.
The Default Byte Order automatically applies the default for your system processor and is typically the best option. Determines the tradeoff between file size and audio quality. For example, if audio suddenly drops 30 dB, the specified attack time passes before the input registers an amplitude change. This avoids erroneous amplitude readings due to temporary changes. Release Time. Determines how many milliseconds the current amplitude level is maintained before another amplitude change can register.
Use fast attack and release settings for audio with fast transients, and slower settings for less percussive audio. Determines levels based on amplitude peaks. However, it can be helpful when audio has loud transient peaks you want to subdue. Determines levels based on the root-mean-square formula, an averaging method that more closely matches the way people perceive volume. This mode precisely reflects amplitudes in the Dynamics graph. Gain Processor.
Determines how many milliseconds it takes for the output signal to reach the specified level. For example, if audio suddenly drops 30 dB, the specified attack time passes before the output level changes. Note : If the sum of Attack and Release times is too short less than about 30 milliseconds , audible artifacts can be heard. To see good attack and release times for different types of audio content, choose various options from the Presets menu.
Link Channels. Processes all channels equally, preserving the stereo or surround balance. For example, a compressed drum beat on the left channel reduces the right channel level by an equal amount. Band Limiting. You can individually control each one of the section. The LED and gain reduction meters helps you get the overview about how the audio signal is processed.
The LED meter is green when audio passes through the gate. The meter turns red when there is no audio passing, and yellow during the attack, release, and hold times. The Ratio parameter can be used control the change in dynamic range while Attack and Release parameter changes the temporal behavior. Use the Gain parameter to increase the audio level after compressing the signal. The Gain Reduction meter shows how much the audio level is reduced.
The ratio parameter can be used to control the change in dynamic range. The gain reduction meter shows the level of reduction in audio level. The meter LED turns on when the signal is limited. In the Waveform Editor panel, click the yellow envelope line to add keyframes, and drag them up or down to change amplitude.
To quickly select, reposition, or delete multiple keyframes, see Adjust automation with keyframes. To create smoother, curved transitions between keyframes, rather than linear transition, select the Spline Curves option. To create smoother, curved transitions between keyframes, rather than linear transitions, select the Spline Curves option t. Typically, limiting is applied with an input boost, a technique that increases overall volume while avoiding distortion.
Maximum Amplitude. Preamplifies audio before you limit it, making a selection louder without clipping it. As you increase this level, compression increases. Note : Make sure that the value is at least 5 milliseconds. If this value is too small, audible distortion effects occur. Sets the time in milliseconds for the attenuation to rebound back 12 dB or roughly the time needed for audio to resume normal volume if a loud peak is encountered.
In general, a setting of around the default works well and preserves low bass frequencies. Note : If this value is too large, audio can remain quiet and not resume normal levels for a while.
Because each band typically contains unique dynamic content, multiband compression is a powerful tool for audio mastering. To preview bands in isolation, or Bypass buttons to pass bands through without processing, click Solo buttons. To change compression settings over time, use automation lanes in the Multitrack Editor. See Automating track settings. Frequency bands B. Crossover markers C. Bypassed band no processing applied D. Amplitude scale E. Frequency scale. Sets the crossover frequencies, which determine the width of each band.
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