The brighter the color, the louder the sound, so cross-referencing bright and dark areas against the frequency axis will give you a surprisingly good idea of the sound being made. It plots time (x) against audio frequency (y), and the colors are just a heatmap that shows how loud the sound is at a given frequency.
Spectral frequencyĪt first glance, the spectral frequency display (Shift+D) can be intimidating, but it’s actually pretty simple. But the chances are that you’ll spend most of your time with the waveform view minimized to give the spectral frequency more room, which you can do by dragging the horizontal divider up and down to suit. But it’s still useful to check for instances of audio clipping, or creating fade envelopes, or seeing how much headroom might be available for gain or compression. Once you get to know the spectral frequency display a bit better, you’ll probably rely on the waveform view a lot less. The waveform shows amplitude against time.
Adobe audition deesser full#
Just as with the Levels meter, this is measured in dBFS (decibels relative to full scale) with a maximum peak of 0dBFS.
This is the simplest and most familiar of the two and is time (x) plotted against amplitude (y), with peaks indicating loudness. So before we get down to the specifics of editing and cleanup, let’s take a look at the displays you’ll be using in post- waveform and spectral frequency. It’s not your only option, and a lot of the features noted here can also be found in other applications, so you should be able to follow this guide even if you’re using a different editing tool.Īdobe Audition is a powerful audio editor, and like most of its type, the extent of its feature set can make it intimidating to the newcomer (or even a video veteran who’s never seen a spectral frequency display before).
And for this, we’ll be staying in Adobe Audition. If you’ve been following this four-part series, then you’ll know that we’ve already covered choosing your microphone, preparing your environment, and recording your voiceover.
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