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Waves Plugins Adobe Audition 1.5
This is a short guide on how to do mastering using Cool Edit Pro (now called Adobe Audition). Particularly, this is written based on older Adobe Audition 1.5. But I do believe the techniques outlined here can also be applied to later Adobe Audition versions such as Adobe Audition 3. Mastering is the last stage of the audio production process, next to mixing. So make sure that before you start mastering, your audio wave must pass the following properties: 1.) It is a mix down wave. This is single waveform, which is summation or the final result of the mixing process.
It should only be one waveform but containing all musical instruments mix (vocals, drums, guitars, etc). See examples below. Sample photo of the audio mixdown after mixing process 2.) No EQ and Compression is still applied. It should be completely fresh, the single waveform is still NOT being adjusted with any mastering EQ and compression settings. 3.) The maximum peak of the audio wave (Peak amplitude) should not exceed -3dB. An allowance is needed for EQ and Compression adjustments in mastering.
If the wave is already peaking at the loudest level (0dB), then there is no room for EQ and Compression adjustments. It is a good practice in mixing that the completed mix down should have some headroom for EQ/mastering adjustments. You can measure the peak amplitude by going to Edit View –> Analyze –> Statistics. For details, read this tutorial on the required before mastering.
Trimming of start and ending. I give a 0.3 second allowance before the start of the audio wave and 0.6 second allowance at the end of the wave. If the wave exceeds 0.3 second from the moment it started playing, cut it. Below is the sample screenshot of the trimmed wave at the start (it was exceeding 0.3 seconds before and I cut it to 0.3 seconds standard).
Make sure Rescan existing plug-ins is check-marked, and click on Rescan for plug-ins. Once the rescan is done, create a new session with a supported sample rate, add a track and load your Waves plugins.
Start of the audio wave trimming Step2. EQ stage – The objective of EQ stage is to shape the final sound of the recording, apply presence, boost hi frequencies and lows as well as removing muddiness.
Use the Adobe Audition Parametric Equalizer to adjust settings. You can as well apply EQ plugins like those from Wave.
Refer to this following good tutorial on mastering EQ using Audition: Step3. Compression stage – The overall objective of the compression stage is to make the audio wave as loud as possible without creating distortion. In this case, I am using the for Adobe Audition 1.5: Go to Effects –> DirectX –> Waves –> L2 and adjust the following: Under factory preset change to: Hi Res CD Master then adjusts the following: Threshold: -7.5 Out of Ceiling: 0.2 Click OK, this will maximize the volume of the recording to around -13dB (average RMS power) which is considered OK for master recordings. You can check the loudness in terms of average RMS power by Analyze –> Statistics. Fine tune the mastering and use your ear. You can use to remember your settings in the mastering FX chain.
Bear in mind that mastering in Adobe Audition is a destructive audio editing process, so make sure you have backup the original mix before you proceed.
How do you have pro grade plug-ins with consumer grade DAW???Sounds like piracy to meI have heard of this before, Audition isn't a bad DAW. @OP As long as you have installed the plugins correctly (as instructed) you should be able to set a directory to scan from within Audition (unless you installed to your default VST path anyway, which should have happened by default hence why people think you are suspicious). If you are pirating (which is very frowned upon on these boards and for very good reason) you should probably uninstall your plugs and run that 'purchased' installer in administrator mode.
I have heard of this before, Audition isn't a bad DAW. @OP As long as you have installed the plugins correctly (as instructed) you should be able to set a directory to scan from within Audition (unless you installed to your default VST path anyway, which should have happened by default hence why people think you are suspicious). If you are pirating (which is very frowned upon on these boards and for very good reason) you should probably uninstall your plugs and run that 'purchased' installer in administrator mode.I know pirating is frowned upon around here, but it is 2012. That said, there are a a lot of programs I just had to buy because the hooked up version caused more problems than it was worth. I hear people mention audition, but I always thought it was used as a supplement to your main DAW. So anyway, I hope u figure it out op.
But a common prob with bootleg stuff is it wont work right.
Adobe Audition Has Lot of plugins, what you need is how to work with them. Here is how i do my job. For Profesional Effect Do The Following The Mastering Rack The Mastering Rack, a new feature in Audition 2.0, allows you to apply multiple plug-ins to your material in Edit view and then preview the results in real time. To use the Mastering Rack, import a two-channel stereo mix into the Edit view and choose Effects > Mastering Rack.
As a starting point, add the following plug-ins to the Mastering Rack in this order: 1. Parametric Equalizer (see 'Pre-dynamic EQ' below) 2. Either Dynamics or the Multiband Compressor (see 'Dynamics' below) 3. Hard limiter (see 'Limiting/ceiling' below) 4. Stereo Expansion (see 'Stereo expansion' below) 5. Parametric Equalizer (see 'Post-Dynamic EQ' below) Note: The Parametric Equalizer functions optionally either pre-dynamic or post-dynamic. Try both to determine which sequence works best for your material.
For more information about the Mastering Rack, see the Audition User Guide, Chapter 7: Applying Effects (page 110). Sample rate/bit rate If you recorded into Adobe Audition at 16 bit and you remain in the digital domain, you do not need to increase the bit depth to 32 bit unless you need to do extensive noise reduction. Adding minor EQ or limiting in 32 bit doesn't noticeably benefit most recordings. However, 32 bit does extend dynamic range somewhat and may be worth the conversion if you have ample hard disk space and you are familiar with noise shaping curves and dithering selections. If you begin at 24 bit or higher, do not convert your material until the final stage of production. For more information, see 'Converting back to 16 bit, 44100, Stereo' below.
Pre-dynamic EQ If you plan to use a limiter (such as the Hard Limiter) or mild compression on your final mix, then you may benefit from accentuating some key frequencies in the compression process. Use the Parametric Equalizer (plug-in) to adjust the following frequencies: -- 60hs-80hz (bass, 45hs and below from sub-bottom) -- 250hz (muddiness/low mid) -- 1.25k-2.5k (vocal fundamental) -- 5.8k-6.3k (sibilance) -- 8k-14k (presence and shimmer) By boosting or cutting these frequencies in very small increments, you can tailor your sound with a variety of narrow and broadband Q. Don't boost or cut more than 3db in any one band (with the exception of cutting the 250hz range if your sound is very muddy). Dynamics Use one of the following compression tools to control the dynamic relationship between the quietest and loudest parts of a mix and the relative output: -- Use the Dynamics Processing plug-in with a compression ratio of approximately 2:1 (a standard setting to give a mix 'punch').
Typically, you should not exceed a 3:1 ratio. -- Use the Multiband Compressor plug-in for frequency-specific compression to achieve an even higher level of control over the mix use.
While traditional compressors operate across the entire frequency range, the Multiband Compressor splits the incoming audio signal into 4 user-determined frequency areas so that compression can be applied selectively to each. Limiting/ceiling In order to compete with commercial CDs, you need to make it loud. The best way to do this is with careful use of the Hard Limiter plug-in. Set the Limit Max Amplitude to.5 dB to prevents your signal from going over the 0 db limit. If the level is already loud enough, no further settings are required; but you can also further boost the signal by selecting the Boost Input By option. The key is to balance the relationship between how loud the signal is and how close to the Max level (0db) you can get. If you boost your signal too much, you will hear audible artifacts; though, depending on your tastes, you may decide to include these artifacts.
Note: the Multiband Compressor (see 'Dynamics' above) has a built-in limiter, allowing you to apply dynamics and limiting with one plug-in. Stereo expansion (optional) Many engineers use expansion in the mixdown process (for example, background vocals may be mixed with some stereo reverb, the drums may have some type of presence/ambience effect, electric guitars may bounce left to right). Counter strike condition zero xtreme edition setup.
Plug-ins Adobe Audition 1.5
This effect can create a wash of stereo sound leaving you with no center, so use expansion with caution. If you simply want to widen a narrow stereo field, try the Stereo Expansion plug-in to add depth and dimension to your track. You can also move your center image, but do so with caution to avoid unbalancing your mix. Post-dynamic EQ (optional) See 'Pre-dynamic EQ' above. If you didn't adjust frequencies before the limiting stage, do so lightly for final adjustments to the mix. Use shaping, but minimal boosting and cutting. Normalizing If you increased your max amplitude to.1, you don't have much room to work with.
However, if you added or subtracted EQ, you may want to boost your signal to peak amplitude by normalizing 98%. You can normalize to 100% if you are using a high-quality CD burner and adequate software. The level adjustments in Audition are extremely accurate. Converting back to 16 bit, 44100, Stereo The preset dither depths and noise shaping curves (pdf=triangular, Noise Shape A) are usually adequate, but may not be so for 32-bit 96k audio. Experiment with conversions on shorter files to find one that best suits your music. For more information on selecting the curves that work best with various sample rates, see Audition Help.
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Saving as Windows PCM Wave To ensure that all CD players capture the start-ID index for your tracks and play them properly, be sure to create wave files with approximately 100-150 ms of space before the beginning of the song. This is not an issue for live recordings with continuous tracks, but you may want to experiment with track spacing. Using the CD- burning application The first track on your CD must include a 2-second pause at the beginning. This setting is adjusted in the CD-burning application itself, not in Adobe Audition or on the actual wave file. Write this 2-second gap to your disc just after the table of contents to ensure proper indexing and playback. You do not need to include spacing on any tracks other than the first track. If your CD-burning application supports DAO (disc-at-once), it will create this space for you by default.
Adobe Audition 1.5 Full
Burn speed If you intend your disc for duplication, burn at 2x or slower (1x, realtime burning); you can burn at 4x for personal use. At slower burn speeds, you have fewer CRC/burst errors. Most plants can detect the speed at which you burned the disc and will not accept a CD premastered or cut at 4x or higher because of the risk of errors during duplication. Most plants prefer green or gold dyes over blue, but you should check with individual plants for specific preferences.