Настройки эквалайзера adobe audition
The graphic nature of the Filter And EQ > FFT Filter effect makes it easy to draw curves or notches that reject or boost specific frequencies. FFT stands for Fast Fourier Transform , an algorithm that quickly analyzes frequency and amplitude.
This effect can produce broad high‑ or low‑pass filters (to maintain high or low frequencies), narrow band‑pass filters (to simulate the sound of a telephone call), or notch filters (to eliminate small, precise frequency bands).
Determines how frequencies are arranged along the horizontal x‑axis:
For finer control over low frequencies, select Logarithmic . A logarithmic scale more closely resembles how people hear sound.
For detailed, high‑frequency work with evenly spaced intervals in frequency, select Linear .
Creates smoother, curved transitions between control points, rather than more abrupt, linear transitions. (See About spline curves for graphs.)
Reverts the graph to the default state, removing filtering.
Click the triangle to access these settings:
Specifies the Fast Fourier Transform size, determining the tradeoff between frequency and time accuracy. For steep, precise frequency filters, choose higher values. For reduced transient artifacts in percussive audio, choose lower values. Values between 1024 and 8192 work well for most material.
Determines the Fast Fourier Transform shape, with each option resulting in a different frequency response curve.
These functions are listed in order from narrowest to widest. Narrower functions include fewer surrounding, or sidelobe, frequencies but less precisely reflect center frequencies. Wider functions include more surrounding frequencies but more precisely reflect center frequencies. The Hamming and Blackman options provide excellent overall results.
The Filter And EQ > Graphic Equalizer effect boosts or cuts specific frequency bands and provides a visual representation of the resulting EQ curve. Unlike the Parametric Equalizer , the Graphic Equalizer uses preset frequency bands for quick and easy equalization.
You can space frequency bands at the following intervals:
One octave (10 bands)
One‑half octave (20 bands)
One‑third octave (30 bands)
Graphic equalizers with fewer bands provide quicker adjustment; more bands provide greater precision.
Sets the exact boost or attenuation (measured in decibels) for the chosen band.
Defines the range of the slider controls. Enter any value between 1.5 and 120 dB. (By comparison, standard hardware equalizers have a range of about 12 to 30 dB.)
Sets the accuracy level for equalization. Higher accuracy levels give better frequency response in the lower ranges, but they require more processing time. If you equalize only higher frequencies, you can use lower accuracy levels.
If you equalize extremely low frequencies, set Accuracy to between 500 and 5000 points.
Compensates for an overall volume level that is too soft or too loud after the EQ settings are adjusted. The default value of 0 dB represents no gain adjustment.
The Graphic Equalizer is an FIR (Finite Impulse Response) filter. FIR filters better maintain phase accuracy but have slightly less frequency accuracy than IIR (Infinite Impulse Response) filters like the Parametric Equalizer .
The Filter and EQ > Notch Filter effect removes up to six user‑defined frequency bands. Use this effect to remove very narrow frequency bands, such as a 60 Hz hum, while leaving all surrounding frequencies untouched.
To remove shrill “ess” sounds, use the Sibilance Softener preset. Or use DTMF presets to remove standard tones for analog telephone systems.
Specifies the center frequency for each notch.
Specifies the amplitude for each notch.
Determines frequency range for all notches. The three options range from Narrow for a second order filter, which removes some adjacent frequencies, to Super Narrow for a sixth order filter, which is very specific.
Generally, use no more than 30 dB of attenuation for a Narrow setting, 60 dB for Very Narrow , and 90 dB for Super Narrow . Greater attenuation can remove a wide range of neighboring frequencies.
Virtually eliminates noise and artifacts, but requires more processing. This option is audible only on high-end headphones and monitoring systems.
Fix Attenuations To
Determines if notches have equal or individual attenuation levels.
The Filter And EQ > Parametric Equalizer effect provides maximum control over tonal equalization. Unlike the Graphic Equalizer , which provides a fixed number of frequencies and Q bandwidths, the Parametric Equalizer gives you total control over frequency, Q, and gain settings. For example, you can simultaneously reduce a small range of frequencies centered around 1000 Hz, boost a broad low‑frequency shelf centered around 80 Hz, and insert a 60 Hz notch filter.
The Parametric Equalizer uses second‑order IIR (Infinite Impulse Response) filters, which are very fast and provide very accurate frequency resolution. For example, you can precisely boost a range of 40 to 45 Hz. FIR (Finite Impulse Response) filters like the Graphic Equalizer provide slightly improved phase accuracy, however.
Compensates for an overall volume level that’s too loud or too soft after you adjust the EQ settings.
Shows frequency along the horizontal ruler (x‑axis) and amplitude along the vertical ruler (y‑axis). Frequencies in the graph range from lowest to highest in a logarithmic fashion (evenly spaced by octaves).
A. High- and low-pass filters B. High and low shelving filters
Sets the center frequency for bands 1-5, and the corner frequencies for the band-pass and shelving filters.
Use the low shelving filter to reduce low‑end rumble, hum, or other unwanted low‑frequency sounds. Use the high shelving filter to reduce hiss, amplifier noise, and the like.
Sets the boost or attenuation for frequency bands, and the per-octave slope of the band-pass filters.
Controls the width of the affected frequency band. Low Q values affect a larger range of frequencies. Very high Q values (close to 100) affect a very narrow band and are ideal for notch filters removing particular frequencies, like 60 Hz hum.
When a very narrow band is boosted, audio tends to ring or resonate at that frequency. Q values of 1-10 are best for general equalization.
Enables up to five intermediate bands, as well as high-pass, low-pass, and shelving filters, giving you very fine control over the equalization curve. Click the band button to activate the corresponding settings above.
The low and high shelving filters provide slope buttons ( , ) that adjust the low and high shelves by 12 dB per octave, rather than the default 6 dB per octave.
To visually adjust enabled bands in the graph, drag the related control points.
Constant Q, Constant Width
Describes a frequency band’s width as either a Q value (which is a ratio of width to center frequency) or an absolute width value in Hz. Constant Q is the most common setting.
Virtually eliminates noise and artifacts, but requires more processing. This option is audible only on high-end headphones and monitoring systems.
Sets the graph to a 30 dB range for more precise adjustments, or a 96 dB range for more extreme adjustments.
Use the Scientific Filter effect ( Effects > Filter and EQ ) for advanced manipulation of audio. You can also access the effect from the Effects Rack for single assets in the waveform editor, or for tracks and clips in the Multitrack editor .
Specifies the type of scientific filter. The available options are as follows.
Provides accurate phase response with no ringing or overshoot. However, the pass band slopes at its edges, where rejection of the stop band is the poorest of all filter types. These qualities make Bessel a good choice for percussive, pulse-like signals. For other filtering tasks, use Butterworth .
Provides a flat pass band with minimal phase shift, ringing, and overshoot. This filter type also rejects the stop band much better than Bessel and only slightly worse than Chebychev 1 or 2. These overall qualities make Butterworth the best choice for most filtering tasks.
Provides the best stop band rejection but the worst phase response, ringing, and overshoot in the pass band. Use this filter type only if rejecting the stop band is more important than maintaining an accurate pass band.
Provides a sharp cut-off and narrow transition width. It can also notch out frequencies, unlike the Butterworth and Chebychev filters. It can, however,introduce ripples in both the stop band and the pass band
Specify a mode for the filter. The available options are as follows.
Passes the low frequencies and removes high frequencies. You must specify the cutoff point at which the frequencies are removed.
Passes high frequencies and removes low frequencies. You must specify the cutoff point at which the frequencies are removed.
Preserves a band, a range of frequencies, while removing all other frequencies. You must specify two cutoff points to define the edges of the band.
Rejects any frequencies within the specified range. Also known as a notch filter, Band Stop is the opposite of Band Pass . You must specify two cutoff points to define the edges of the band.
Compensates for an overall volume level that might be too loud or too soft after you adjust the filter settings.
Defines the frequency that serves as a border between passed and removed frequencies. At this point the filter switches from passing to attenuating, or vice versa. In filters requiring a range ( Band Pass and Band Stop ), Cutoff defines the low frequency border, while High Cutoff defines the high frequency border.
Defines the high frequency border in filters that require a range ( Band Pass and Band Stop ).
Determines the filter’s precision. The higher the order, the more precise the filter (with steeper slopes at the cutoff points, and so on). However, very high orders can also have high levels of phase distortion.
( Butterworth and Chebychev only) Sets the width of the transition band. (Lower values have steeper slopes.) If you specify a transition bandwidth, the Order setting is filled in automatically, and vice versa. In filters that require a range ( Band Pass and Band Stop ), this serves as the lower frequency transition, while High Width defines the higher frequency transition.
( Butterworth and Chebychev only) In filters that require a range ( Band Pass and Band Stop ), this option serves as the higher frequency transition, while Transition Bandwidth defines the lower frequency transition.
( Butterworth and Chebychev only) Determines how much gain reduction to use when frequencies are removed.
Pass Ripple/ Actual Ripple
( Chebychev only) Determines the maximum allowable amount of ripple. Ripple is the effect of unwanted boosting and cutting of frequencies near the cutoff point.
Эффект поднимает или обрезает определенные полосы частот и обеспечивает визуальное представление полученной кривой эквалайзера. В отличие от параметрического эквалайзера, графический эквалайзер использует заданные полосы частот для быстрой и легкой коррекции.
Вы можете выбирать полосы частот в следующих интервалах:
- Одна октава (10 полос)
- Половина октавы (20 полос)
- Одна треть октавы (30 полос)
Графический эквалайзер с меньшим количеством полос обеспечивают быстрое регулирование, с большим количеством полос большую точность.
- Ползунки усиления - установка точного усиления или ослабления (измеряется в децибелах) для выбранного диапазона.
- Range (диапазон) - определяет диапазон ползунков. Введите любое значение в диапазоне от 1,5 до 120 дБ. (Для сравнения, стандартные аппаратные эквалайзеры имеют диапазон от 12 до 30 дБ).
- Accuracy (точность) - устанавливает уровень точности эквализации. Более высокие уровни точности дают лучшие частотные характеристики в диапазоне низких частот, но они требуют больше времени для обработки. Если необходимо эквализировать только высокие частоты, вы можете использовать более низкие уровни точности.
- Примечание: Если необходимо эквализировать крайне низкие частоты, установите точность от 500 до 5000 пунктов.
- Master Gain (мастер усиление) - компенсирует общий уровень громкости если он слишком мягкий или громкий, после корректировки настроек эквалайзера. По умолчанию значение 0 дБ не изменяет мастер усиление.
Примечание: Графический эквалайзер имеет FIR фильтр (с конечной импульсной характеристикой). FIR фильтр лучше поддерживает точность фазы, но имеет немного меньшую частотную точность чем IIR фильтр (с бесконечной импульсной характеристикой), такой как Parametric Equalizer.
Повторяйте за мной, чтобы звук голоса стал жирным, увесистым.
Будем считать, что из того звука, который вы сейчас будете улучшать, шум убран и мы готовы к работе.
Параметрический эквалайзер
В готовых образцах параметров эквалайзера выбираем «вокал энхансер»
Слушайте звук голоса и сравнивайте его с первоначальными частотами. Для удобства сравнивания в левом нижнем углу есть зеленая кнопка, включая выключая которую вы четко услышите разницу (с не большой задержкой)
После того как вы настроили нужное качество, жмите кнопку применить
Немного подождите и звук готов.
Если вас все устраивает, сохраняйте файл: меню файл-экспорт-файл
В новом окне присваиваете имя файлу (1), указываете путь (2) куда сохраниться файл и выбираете формат (3), в данном случае либо МР3, либо WAV, тип и формат параметров оставьте без изменений. Жмите ОК.
Если же хотите улучшить голос, сделать его радийным, то переходите в статью «Голос диктора»
Удачи вам и совершенства!
Learn how to use graphic and parametric audio equalizers to balance your audio tracks.
Sound equalization basics.
Music producers and sound editors use sound equalizers to adjust the amplitude, or energy, of the frequencies that make up an audio signal. The right settings are different for every song, podcast, and audiobook — and certain settings work better for headphones than for 3D surround sound. But it’s important to know that small adjustments of one or two decibels (degrees of loudness) can go a long way.
Whether you use a graphic or parametric equalizer depends on which user interface you prefer and how precise you want to be in changing your sound settings. Graphic equalizers allow you to make adjustments across the frequency range (from low bass to high treble), but even a 30-band EQ will boost or cut a range of frequencies around the one you’re targeting.
Parametric equalizers allow you to pinpoint the audio frequencies you’d like to boost or cut. They also allow you to control exactly how much the neighboring frequencies are affected by your cut.
How to use the graphic equalizer.
Audiophiles looking to make slight adjustments to a mix can start with the graphic equalizer. In Adobe Audition, it’s in the Effects drop-down menu under the Filter and EQ tab. For quick equalization, choose the number of decibels (dB) you’d like to boost or cut from preset frequency bands. Audition allows you to choose from three equalizer settings: bands at intervals of one octave (10 bands), one-half octave (20 bands), and one-third octave (30 bands). With 30 bands, you can be precise in your adjustments across the entire frequency spectrum, but each move you make affects a narrow band of frequencies.
Slide for gain adjustments.
Just move the sliders up or down each band to boost or cut it. The Master Gain slider adjusts the overall dB level.
Find your range.
The Range field allows you to determine the range of your slider controls. Drag the arrows right if you’re making big changes, and left if you’re making small ones.
Balance accuracy with processing.
The Accuracy field determines just that. Higher accuracy levels give better frequency response at the low end, but they require more processing time. If you equalize only higher frequencies, you can use lower accuracy levels.
Try the presets.
For the quickest adjustments, pick a preset in the upper left corner of the Effect window. You may find the sound you’re looking for without having to move each slider yourself. Among many options, try the sound of 1965 in the 10-band equalizer, or Cymbal Shimmer or Vocal Magic in the 20-band. Do some Generic Mud Removal or choose Destination - Home Theater in the 30-band. When you find a preset that works, customize it to get it just right.
How to use the parametric equalizer.
You can find the Parametric Equalizer effect in the same tab as the Graphic Equalizer. Audio engineers like using parametric equalizers because they offer maximum control over tonal equalization. In Audition the equalizer appears as a horizontal line on a graph, with frequency running along the horizontal ruler or x-axis from 0Hz to 10kHz in evenly spaced octaves. Amplitude runs along the vertical ruler or y-axis, from -15dB to 15dB or from -48 to 48.
Make adjustments by moving the dots on the graph where you want them or typing your desired frequency and gain in the fields below the graph. The curve of the line will bend around that dot.
Adjust exactly the frequencies you want.
Adjust the Q/Width to determine the effect your boost or cut has on surrounding frequencies. The wider the Q, the more gradual the slope and more natural-sounding the cut. A very narrow Q will result in a steep slope and a more manipulated sound. If the overall volume level is too loud or too soft after you adjust the EQ settings, move the Master Gain slider for volume control.
Try the presets.
With selections including Beefy Snare, Old Time Radio, or Vocal Enhancer, you might find just what you need. Then customize it to perfect and optimize your sound.
Use high-pass and low-pass filters.
A high-pass filter cuts low frequencies and lets high frequencies pass through, while a low-pass filter cuts high frequencies. You can find presets for both in the Graphic Equalizer and Parametric Equalizer in Audition. Most people can’t hear much below 100Hz, so producers often set a high-pass filter there without changing the listening experience. Set a low-pass filter for the same reason, but avoid setting it below 4000Hz and cutting some clarity from people’s voices.
Learn more about editing audio in Audition.
Check out these helpful tutorials to build your audio mixing and mastering skills
Make selections for editing.
Get familiar with the Time Selection, Marquee Selection, and Lasso Selection tools so you can edit audio precisely and add effects.
Clean up audio with Spectral Frequency Display.
It’s easy to find troubling noise in your mix with the Spectral Frequency Display. Quickly spot hisses, beeps, and other noise with this clear user interface, and cut those frequencies to improve sound quality.
Try multitrack audio editing.
Learn about multitrack editing and mixing, including customizable track and clip colors, sound removal, loudness metering, and more.
However you choose to equalize your audio, remember to start with subtle adjustments. Don’t worry about the shape your sliders make or the uniformity of your parametric curve. If you like how the track sounds, you’re doing it right.
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