![]() ![]() Media Handles are no longer accessible in the converted copy (Multitrack and/or Waveform Editor environments). This function creates a sub clip derived from the original trimmed source clip. The following options support custom shortcut mapping:ħ- Convert To Unique Copy (Multitrack). This feature will process and combine multiple clips located on a single track or multiple tracks. They both support custom shortcut mapping,ĥ- Right + Click on any Clip’s Fade Handle (Multitrack) to display the following customization menu:Ħ- Bounce to New Track (Multitrack). ![]() There are also options to Remove Focus Clip from Group and Ungroup Selected Clips. Actually, this command toggles the behavior between deactivate and activate. This function temporarily deactivates the Group. Multiple clips will be congregated and may be repositioned cumulatively.Ĥ- Suspend Groups (⏎⌘G) (Multitrack). I mapped ⌥⌘L for this function.ģ- Group (⌘G) (Multitrack). When activated, selected clips are pinned to their current location. This command toggles full screen display accessibility of the active (blue outlined) UI Panel.Ģ- Lock In Time (Multitrack). Categories Audio Post Production, Audio Recording and Production, Distribution, Media Encoding, Podcasting Tags 16 bit, dither Leave a commentīelow I’ve listed a few Adobe Audition CC (ver.2015.2.1) features/options that may be obscure and perhaps underutilized.ġ- Maximize Active Frame (⌘↓). Such a roll-off will effectively supply the lossy encoder with managed high frequency activity that is below the codec’s filtering threshold. – Applying a low-pass filter to lossless audio prior to lossy encoding is recommended. ![]() – Be aware of MP3 codec filtering attributes, inherent frequency response limitations, artifacts, and the consequences of low bit rate encoding. – When down converting from 24 bit to 16 bit in preparation for distribution, recognize the significance of Dithering. – If you are producing highly dynamic episodic dramas, fine arts content, or complex narratives with music and sound effects elements – and you prefer to work with 24 bit media … by all means do so. Of course there will be optimization variables and requirements such as quality of gear, optimal recording levels, and ample headroom. An omission as such will compromise the sonic attributes of down converted audio derived from higher resolution source masters.Īre you striving for an efficient Podcast production workflow with excellent fidelity and adequate frequency response? 44.1 kHz (or 48 kHz) With all this in mind, what is the advantage of recording 24 bit (spoken word) Podcast audio with a theoretical dynamic range of 144 dB vs.16 bit audio? In my view there is no advantage, especially when proper down conversion techniques such as Dithering are for the most part ignored. In fact persistent wide dynamics in spoken word audio intended for Internet/Mobile/Podcast distribution will compromise intelligibility. When producing Podcast audio, wide dynamics capabilities are irrelevant. When recording with a mic in a typical environment – your system is incapable of effectively utilizing the full dynamic range of 16 bit audio due to the noted (elevated) perceived noise. Any such mic input will exhibit a higher perceived noise floor with a reduced SNR compared to a much more efficient DI or electronic instrument.Ĭonsider the quantified theoretical dynamic range of 16 bit audio (96 dB). When recording (spoken word) audio via mic input, the noise floor is perceived as the level of ambient noise and residual preamp noise – NOT the system noise. The vast majority of Podcast producers are not using multi- thousand dollar Neumann mics and/or highly efficient preamps in acoustically treated environments … ![]()
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