Reverb Remover For Adobe Audition Mac

Delay and echo effects

Adobe Audition has three echo effects with different capabilities. All delay effects store audio in memory and then play it back later. The time that elapses between storing it and playing it back is the delay time.

Jan 12, 2011 Here is how to do a simple reverse reverb effect in Adobe Audition.

Delay

Delay simply repeats the audio, with the repeat’s start time specified by the delay amount.

Choose File > Close All. Don’t save any changes. Choose File > Open, navigate to the Lesson04 folder, and open the file Arpeggio110.wav.
Click an Effects Rack insert’s right arrow, and then choose Delay and Echo > Delay.
The Mix slider sets the proportion of dry and delayed audio. Set the Right Channel to full Dry and the Left channel to full Wet. This makes it easy to hear the difference between the delayed signal in the left channel and the dry signal in the right channel when the delay effect is enabled.
Set the left channel Delay Time slider full right (500ms). You’ll now hear the left channel arpeggio delayed by half a second compared to the right channel.
Set the left channel Delay Time slider full left (-500ms). You’ll now hear the arpeggio start half a second earlier in the left channel than in the right channel.
Set both Mix sliders to 50%, and experiment with different delay times. You’ll hear a mix of delayed and dry sounds in each channel. Leave the project open for the next lesson.

Analog Delay

Before digital technology, delay used tape or analog delay chip technology. These produced a grittier, more colored sound compared to digital delay. Audition’s Analog Delay provides a single delay for stereo or mono signals and offers three different delay modes: Tape (slight distortion), Tape/Tube (crisper version of tape), and Analog (more muffled). Analog Delay simply repeats the audio with the start time of the repeat specified by the delay amount. Unlike the Delay effect, there are separate controls for Dry and Wet levels instead of a single Mix control. The Delay slider provides the same function as the Delay effect except that the maximum delay time is eight seconds.

Choose File > Close All. Don’t save any changes. Choose File > Open, navigate to the Lesson04 folder, and open the file Drums110.wav.
Click an Effects Rack insert’s right arrow, and then choose Delay and Echo > Analog Delay.
Set Dry Out to 60%, Wet Out to 40%, and Delay to 545ms. Feedback determines the number of repeats as they fade out. Start playback. No Feedback (a setting of 0) produces a single echo, values moving toward 100 produce more echoes, and values above 100 produce “runaway echoes” (watch your monitor volume!).
With feedback at 40, set the Trash control to 100. Change the different modes (Tape, Tape/Tube, Analog) to hear how each affects the sound. Vary the feedback, being careful to avoid excessive, runaway feedback.
Spread at 0% narrows the echoes to mono and at 200% produces a wide stereo effect. Play with the various controls, and you’ll hear anything from dance mix drum effects to 50s sci-fi movie sounds. Keep Audition open for the next lesson.

Echo

Audition’s Echo effect allows for tailoring the echoes’ frequency response by inserting a filter in the delay’s feedback loop, where the output feeds back to the input to create additional echoes. As a result, each successive echo processes each echo’s timbre to a greater degree. For example, if the response is set to be brighter than normal, each echo will be brighter than the previous one.

With the Drum110.wav file open, assuming the Analog Delay effect is still inserted and Audition is still playing, click its insert’s right arrow, and then choose Delay and Echo > Echo.
Compared to the previous delay effects, Echo has yet another way of setting the echo mix; each channel has an Echo Level control that dials in the echo amount. The Dry signal is fixed. When you’re using the echo effect, enter the following values for the left channel: Delay Time 545ms, Feedback 90%, and Echo Level 70%. Enter the following values for the right channel: Delay Time 1090ms, Feedback 70%, and Echo Level 70%.
Bring all Successive Echo Equalization controls all the way down (-15dB). By doing so, it will be easier to hear the effects of moving each slider.
Raise the 1.4kHz control to 0 (values above 0 produce runaway echo), and note how the sound is more “midrangey.”
Bring down the 1.4kHz slider, and raise the 7.4kHz slider to 0. Now the echoes are brighter.
Return the 7.4kHz slider to -15dB, and raise the 172Hz slider to 0. The echoes are now bassy.
You can vary more than one slider at a time to create a more complex equalization curve, as well as enable Echo Bounce to bounce each channel’s echo between the left and right channels.

In a room, soundbounces off the walls, ceiling, and floor on the way to your ears. Allthese reflected sounds reach your ears so closely together thatyou don’t perceive them as separate echoes, but as a sonic ambiencethat creates an impression of space. This reflected sound is called reverberation, or reverb for short.With Adobe Audition, you can use reverb effects to simulate a varietyof room environments.

Note:

For the most flexible, efficient use of reverbin the Multitrack Editor, add reverb effects to buses, and set reverboutput levels to 100% Wet. Then, route tracks to these buses, anduse sends to control the ratio of dry to reverberant sound.

The Reverb >Convolution Reverb effect reproduces rooms ranging from coat closetsto concert halls. Convolution-based reverbs use impulse filesto simulate acoustic spaces. The results are incredibly realisticand life-like.

Sources of impulse files include audio you’ve recorded of anambient space, or impulse collections available online. For bestresults, impulse files should be uncompressed, 16- or 32-bit filesmatching the sample rate of the current audio file. Impulse lengthshould be no more than 30 seconds. For sound design, try a varietyof source audio to produce unique, convolution-based effects.

Note:

Because Convolution Reverb requires significant processing,you may hear clicks or pops when previewing it on slower systems.These artifacts disappear after you apply the effect.

Specifies a file that simulates an acoustic space. ClickLoad to add a custom impulse file in WAV or AIFF format.

Controls the ratio of original to reverberant sound.

Specifies a percentage of the full room defined by the impulsefile. The larger the percentage, the longer the reverb.

Reduces low-frequency, bass-heavy components in reverb, avoidingmuddiness and producing a clearer, more articulate sound.

Reduces high-frequency, transient components in reverb, avoidingharshness and producing a warmer, lusher sound.

Determines how many milliseconds the reverb takes to buildto maximum amplitude. To produce the most natural sound, specifya short pre-delay of 0–10 milliseconds. To produce interesting specialeffects, specify a long pre-delay of 50 milliseconds or more.

Controls the stereo spread. A setting of 0 produces a monoreverb signal.

Boosts or attenuates amplitude after processing.

TheReverb > Full Reverb effect is convolution‑based, avoidingringing, metallic, and other artificial sounding artifacts.

This effect offers some unique options, such as Perception, whichsimulates room irregularities, Left/Right Location, which placesthe source off‑center, and Room Size and Dimension, which help yourealistically simulate rooms that you can customize. To simulatewall surfaces and resonance, you can change the reverb’s frequencyabsorption by using a three‑band, parametric EQ in the Coloration section.

Whenyou change reverb settings, this effect creates a temporary impulse file, whichsimulates the acoustic environment you specify. This file can beseveral megabytes in size, requiring a few seconds to process, soyou might have to wait before hearing a preview. The results, however,are incredibly realistic and easy to tailor.

Note:

The Full Reverb effect demands significantprocessing; for real‑time multitrack use, either pre-render thiseffect or replace it with Studio Reverb. (See Pre-render track effects to improve performance.)

Specifies how many milliseconds the reverb takes to decay60 dB. However, depending on the Coloration parameters, certainfrequencies may take longer to decay to 60 dB, while other frequenciesmay decay much faster. Longer values give longer reverb tails, butthey also require more processing. The effective limit is about6000 milliseconds (a 6‑second tail), but the actual tail generatedis much longer to allow for decaying into the background noise level.

Specifies how many milliseconds reverb takes to build toits maximum amplitude. Generally, reverbs build up quickly, andthen decay at a much slower rate. Interesting effects can be heardwith extremely long pre‑delay times of 400 milliseconds or more.

Controls the rate of echo buildup. High diffusion values(above 900 milliseconds) give very smooth reverbs, without distinctechoes. Lower values produce more distinct echoes because the initialecho density is lighter, but the density builds over the life ofthe reverb tail.

Tip: Bouncy echo effects can beobtained by using low Diffusion values and high Perception values.With long reverb tails, using low Diffusion values and somewhat lowPerception values gives the effect of a football stadium or similararena.

Simulates irregularities in the environment (objects, walls, connectingrooms, and so on). Low values create a smoothly decaying reverb withoutany frills. Larger values give more distinct echoes (coming fromdifferent locations).

Tip: If a reverb is toosmooth, it may not sound natural. Perception values up to about 40give simulate typical room variations.

Sets the volume of the virtual room, as measured in cubicmeters. The larger the room, the longer the reverb. Use this controlto create virtual rooms of only a few square meters to giant coliseums.

Specifies the ratio between the room’s width (left to right)and depth (front to back). A sonically appropriate height is calculatedand reported as Actual Room Dimensions at the bottom of the dialogbox. Generally, rooms with width‑to‑depth ratios between 0.25 and4 provide the best sounding reverbs.

Lets you place early reflections off‑center. Select IncludeDirect in the Output Level section to place the original signalin the same location. Very nice effects are possible with singersslightly off center, 5-10% to the left or right.

Prevents the loss of low‑frequency (100 Hz or less) sounds, suchas bass or drums. These sounds can get phased out when using smallrooms if the early reflections mix with the original signal. Specifya frequency above that of the sound you wish to keep. Good settingsare generally between 80 Hz and 150 Hz. If the cutoff setting istoo high, you may not get a realistic image of the room size.

Sets Decay and Pre‑delay times to match the specified roomsize, producing a more convincing reverb. If desired, you can then fine‑tunethe Decay and Pre-Delay times.

Note:

To visually adjust Colorationoptions, drag directly in the graph.

Specifies the corner frequency for the low and high shelvesor the center frequency for the middle band. For example, to increasereverb warmth, lower the high shelf frequency while also reducingits gain.

Boosts or attenuates reverb in different frequency ranges.

Tip: To subtly enhance audio, boost reverb frequenciesaround the natural frequency of a key sonic element. For a singer’svoice, for example, boost frequencies from 200 Hz to 800 Hz to enhanceresonance in that range.

Sets the width of the middle band. Higher values affect anarrower range of frequencies, and lower values affect a wider range.

Tip: For distinct resonance, use values of 10 or higher.To boost or cut a wide range of frequencies, use lower values like2 or 3.

Specifies how many milliseconds the reverb decays beforethe Coloration curve is applied. Values up to 700 work fine. Formore colored reverbs, use lower settings (such as 100 to 250).

Controls the level of original signal included with reverb.Use a low level to create a distant sound. Use a high level (near100%) along with low levels of reverberation and reflections tocreate a sense of close proximity to the source.

Controls the level of the dense layer of reverberant sound.The balance between the dry and reverberant sounds changes perceptionof distance.

Controls the level of the first echoes to reach the ear,giving a sense of the overall room size. Too high a value can resultin an artificial sound, while too low a value can remove audiblecues for the room’s size. Half the volume of the Dry signal is agood starting point.

Slightly phase‑shifts the original signal’s left and rightchannels to match the location of early reflections (set by Left/RightLocation on the Early Reflections tab).

Combines the channels of a stereo or surround waveform before processingoccurs. Select this option for faster processing, but deselect itfor a fuller, richer reverb.

The Reverb >Reverb effect simulates acoustic spaces with convolution-based processing.It can reproduce acoustic or ambient environments such as a coat closet,a tiled bathroom shower, a concert hall, or a grand amphitheater.The echoes can be spaced so closely together that a signal’s reverberatedtail decays smoothly over time, creating a warm and natural sound.Alternatively, Pre-Delay Time can be adjusted to give a sense ofroom size.

Relative to the Reverb effect, the Full Reverb effect providesmore options and better audio rendering. For quick adjustments,however, you may prefer the reduced options set of the Reverb effect.

Note:

The Reverb effect demands significant processing;for real‑time, multitrack use, either pre-render this effect orreplace it with Studio Reverb. (See Pre-render track effects to improve performance.)

Sets how many milliseconds it takes for reverb to tail offto infinity (about ‑96 dB). Use values below 400 for small rooms,values between 400 and 800 for medium-sized rooms, and values above800 for very large rooms, such as concert halls. For example, enter3000 milliseconds to create reverb tails for a giant amphitheater.

Tip: To simulate rooms that have both echoes and reverb,first use the Echo effect to establish the size of the room, andthen use the Reverb effect to make the sound more natural. A DecayTime as little as 300 milliseconds can add perceived spaciousnessto dry sound.

Specifies how many milliseconds reverb takes to build toits maximum amplitude. For a short Decay Time, the Pre-Delay Timetime should also be smaller. In general, a value about 10% as longas the Decay Time sounds most realistic. However, you can createinteresting effects by using a longer Pre-Delay Time with a shorterDecay Time.

Simulates natural absorption, reducing high frequencies asthe reverb decays. Faster absorption times simulate rooms full ofpeople, furniture, and carpeting, such as nightclubs and theaters.Slower times (over 1000 milliseconds) simulate empty rooms suchas auditoriums, where high frequency reflections are more prevalent.

Changes the characteristics of reflections within a room.Lower values create smoother reverb without as many distinct echoes.Higher values simulate larger rooms, cause more variation in reverbamplitude, and add spaciousness by creating distinct reflectionsover time.

Tip: A Perception setting of 100 anda Decay Time of 2000 milliseconds or more creates interesting canyoneffects.

Sets the percentage of source audio to output. In most cases,90% works well. To add subtle spaciousness, set the Dry percentagehigher; to achieve a special effect, set the Dry percentage lower.

Sets the percentage of reverb to output. To add subtle spaciousnessto a track, keep the Wet percentage lower than the Dry percentage.Increase the Wet percentage to simulate greater distance from theaudio source.

Combines the channels of a stereo or surround waveform before processingoccurs. Select this option for faster processing, but deselect itfor fuller, richer reverb.

Likethe other reverb effects, the Reverb > Studio Reverbeffect simulates acoustic spaces. It is faster and less processor‑intensivethan the other reverb effects, however, because it isn’t convolution‑based.As a result, you can make real‑time changes quickly and effectivelyin the Multitrack Editor, without pre-rendering effects on a track.

Sets the room size.

Adjusts the amount of reverberation decay in milliseconds.

Controls the percentage of echoes that first reach the ear, givinga sense of the overall room size. Too high a value can result inan artificial sound, while too low a value can lose the audio cuesfor the room’s size. Half the volume of the original signal is agood starting point.

Controls the spread across the stereo channels. 0% producesa mono reverb signal; 100% produces maximum stereo separation.

Specifies the highest frequency at which reverb can occur.

Specifies the lowest frequency at which reverb can occur.

Adjusts the amount of attenuation applied to the high frequenciesof the reverb signal over time. Higher percentages create more dampingfor a warmer reverb tone.

Simulates the absorption of the reverberated signal as itis reflected off of surfaces, such as carpeting and drapes. Lowersettings create more echoes, while higher settings produce a smootherreverberation with fewer echoes.

Sets the percentage of source audio to output with the effect.

Sets the percentage of reverb to output.

The Reverb > Surround Reverb effect is primarilyintended for 5.1 sources, but it can also provide surround ambienceto mono or stereo sources. In the Waveform Editor, you can chooseEdit > Convert Sample Type to convert a mono or stereo file to5.1, and then apply Surround Reverb. In the Multitrack Editor, youcan send mono or stereo tracks to a 5.1 bus or master with SurroundReverb.

Determines the percentage of the center channel includedin the processed signal.

Determines the percentage of the Low Frequency Enhancement channelused to excite reverb for other channels. (The LFE signal itselfis not reverberated.)

note: The effect always inputs 100% ofthe Left, Right, and rear surround channels.

Specifies a file that simulates an acoustic space. ClickLoad to add a custom, 6- channel impulse file in WAV or AIFF format.

Specifies a percentage of the full room defined by the impulsefile. The larger the percentage, the longer the reverb.

Reduces low-frequency, bass-heavy components in reverb, avoidingmuddiness and producing a clearer, more articulate sound.

Reduces high-frequency, transient components in reverb, avoidingharshness and producing a warmer, lusher sound.

Controls the stereo spread across the front three channels.

Awidth setting of 0 produces a mono reverb signal.

Controls the stereo spread across the rear surround channels (Lsand Rs).

Controls the amount of reverb added to the Center channel. (Becausethis channel usually contains dialog, reverb should typically belower.)

Controls left-right balance for front and rear speakers.100 outputs reverb to only the left, -100 to only the right.

Controls front-back balance for left and right speakers.100 outputs reverb to only the front, -100 to only the back.

Controls the ratio of original to reverberant sound. A settingof 100 outputs only reverb.

Boosts or attenuates amplitude after processing.

Adobe Audition Mac Version