Beruflich Dokumente
Kultur Dokumente
from the
The Campfire track (the only track that you should be able to
hear since you have muted the other two tracks) is a noise-based
sound, consisting mainly of higher frequencies. Although there is a
sense of variation in the sound (the crackles and pops), on the
whole, it has a fairly uniform dynamic range.
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Play the session again, this time clicking and dragging on the
first slider (Track 1, which should contain the Campfire
clip).
You are now controlling the amplitude of that track in real time.
Try setting the level to zero (all the way down), and then play
the session. After one or two seconds of silence, slowly raise
the slider to fade in the signal. After it has reached full
strength, lower it quickly, all the way to zero. Wait a second,
then raise it quickly. Hold the level for about three seconds,
then slowly lower it to fade the signal out.
Move the cursor directly above the small white square at the
beginning of the selected clip. The cursor will change to a
pointing finger, and the clips volume will be displayed:
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Click on the white square, and drag it down. While you are
dragging, the new volume will be displayed to show you the
current level setting. It displays the signals level change
relative to its original amplitude, in both percent and decibels.
Creating automation.
Drag the square all the way down so that the relative display
reads 0% (completely off).
Note: Auditions clip envelopes only affect the selected clip, and have
no control over the Mixer window. This window serves as a relative
amplitude level for all tracks after the clips volume envelopes. In
other words, they serve as Group Volume controls, but cannot be
automated.
The clip should now begin with no volume, and over the
course of the entire clip, it should get louder and louder until it
reaches full volume at the very end. You have created a fade-in;
however, it is taking the entire clip to complete this fade.
What you need to do is create a breakpoint: a point in the
automation line that changes the lines level.
Place the cursor over the volume envelope line. The cursor
should turn into a pointing finger again, and a plus sign
should appear beside it:
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Editing a breakpoint
Unity Gain
When you set the volume automation level, you may have noticed
that the relative display ranges from 0% at the bottom of the track,
to 100% at the top. Using volume automation, a clip can only be
attenuated lowered in amplitude.
Why does it display 0 dB when the volume envelope is set at
100%? This is known as unity gain or the level at which the track is
playing at its original level. When a signal is sent through a mixer,
including the virtual mixer in Audition, a level can either be
amplified (made larger) or attenuated (made smaller).
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Bring the Campfire track into focus by raising its level while
the other two tracks are set at lower levels.
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From the Soundscapes and Sound Materials CD, import Track 41,
Axe, into Audition. This audio file is twenty-three seconds long
and consists of seven different versions of an axe chopping a
block of wood.
Drag Axe into the first track so that it begins at time zero.
Choose Split (Ctrl+K) from the Edit menu. Drag the new clip
down to the next track to separate it from the original.
Once all seven sounds have separate clips, you dont need the
original clips anymore. Select them by selecting one of them,
then choose Select All Clips in Track 1 from the Edit menu,
then Remove Clips from the Edit menu.
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Still in the same track, space them out at exact intervals of one
second.
Use some of the same clips twice by copying them (ControlDrag the clip with the Move Tool).
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Does this make the result more interesting? (It should.) Can
you now make the conversation go on even longer?
These types of details are the essential elements in creating
gestures in electroacoustic music.
From the Soundscapes and Sound Materials CD, import Track 53,
Ahhh.
Drag the clip into the first track so that it begins at time zero.
Zoom in so that you can see the first five seconds of the
session. Play the clip.
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Using the Move tool, select the first clip, and drag it to the
second track while holding the control key this will copy the
reference (clip). Move it so that it is offset slightly from the
first clip in track one.
Delete all but the first clip in each track. Do this by shiftclicking on each clip that should be deleted, then choosing
Remove Clips from the Edit menu.
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Select all the clips in Track 2, then copy them to tracks three
and four (control-drag them there). Then, offset these news
tracks from the first two.
The session should look something like this when you are done:
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Using the above session, move each clip so that a very short
silence occurs between clips (about fifty to 200 milliseconds).
Try to vary this amount somewhat spontaneously and
unpredictably.
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Select all clips by choosing Select All Clips from the Edit
menu (Ctrl+A).
Mixing will occur, and the new file, with the default name of
Mixdown *, will appear in the Organizer window, and the Edit
View window as well.
Drag the new clip into the first track after the clips you just
mixed.
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Control drag this clip into the other tracks, making copies of it.
Place it at uneven intervals.
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Making sure that both clips begin at the same time, zoom in to
an obvious event, such as the attack between time .4 and .5.
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Because the two clips have the same duration, and the events
in the two versions occur at (almost) the same time, it is possible to
combine them in interesting ways.
From the File menu, select Save Copy As, and call the copy
Key Jingle-stretch.
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The ratio of 50 means that the file will have the equivalent of a
50% playback speed, or half as fast.
Note that it is possible to adjust the processs preference for
low precision (a fast calculation, but not very accurate) versus high
precision (which will take longer to calculate).
Percussive vs. Sustained Sounds
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TASK: DELAY
Setting Up the Session
Change the Offset to 350 ms, the Delay to 350 ms, and the
Feedback to twenty-five per cent. Click on the display buttons
to enter these values directly, rather than using the sliders.
The Delay is the time, in milliseconds, between the original and the
delayed version of the signal. The Feedback is the amount of the
processed signal that is fed back into the delay. It will create a
rhythmic repetition in the delay. Twenty-five per cent feedback will
cause about four repetitions of the original delay to be audible,
with each delay having twenty-five per cent of the amplitude of the
preceding one.
Phasing
Set the Delay and Offset to 10 ms, and the Feedback to sixtyfive per cent. Preview the result.
Notice that the boost frequencies get higher as the delay time
gets lower. By 1 ms, multiples of 1000 Hz will be boosted. The
apparent intensity of the effect can be controlled by adjusting the
amount of feedback.
Flanging
Close the Multitap Delay, and select Flanger from the Delay
Effects menu.
Set the Final Mix Delay to 5 ms (1.), and the Feedback to 60%
(2.).
Note that both of these parameters are delay settings.
TASK: REVERB
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Change the reverb time to about five seconds, and increase the
mix to about eighty per cent. Preview the sound.
Normalize
In many cases, adding reverb to the file will result in a loss of
energy in the original signal. In other words, you will need to
normalize the file after the reverb process.
Reverb as a Virtual Space
Reverb can be used to place a sound within an interior
environment. In most commercial usage, reverb is used equally on
all instruments in order to place them in the same virtual room. Of
course, there is no need to limit our use of reverb to such a naturalsounding result. For example, what would happen if we placed
reverb on a sound that occurs in an exterior setting?
Select FFT Filter from the Filters submenu within the Process
menu,
Process the file, and then select the Studio Reverb effect. Set
the reverb time to about two seconds.
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