Adobe Audition How To: Parametric EQ

hey everybody market with Lewis here from cinema sound today we're gonna be talking about yet another incredibly important plugin for post-production found in Adobe Audition and if you've seen any of these videos before and gotten any value of them out of them please subscribe to this YouTube channel right away and let's jump in this is the parametric EQ one of the most basic and one of the most functional and important plugins in any digital audio workstation and of course Adobe auditions does some things that ain't nobody else's EQ does let's roll if you've never opened Adobe Audition or never used it I encourage you to go to the cinema sound comm site and get our Adobe Audition one two three education it will take you from I've never opened it to doing some pretty cool things and we talked about parametric EQ there as well but let's check this out so we've got three Clips here in the timeline let's just take a listen to them really quickly you cannot Bluff when you hold no cards slowly Ballard and I will not shoot you you Texans in your honor just some pretty simple dialogue from a short film a long time ago kind of unadulterated we're gonna click on the time tool and just select these bits here making sure that we're on loops a little just looping will get real tired of this there's a couple of ways that you can instantiate plugins on Clips one of the ways is if you've selected Clips you can go here and just pull down menu or you can go to clip effects and just do this in the clip effects effects rack rather but since we're want to do track effects you want to apply all of these clips to the same plug-in we're gonna do track effects and then go filter and EQ and here's parametric equalizer there we go if you've never seen a parametric equalizer it's basically the same kind of thing as a fader a.fader takes all the frequencies and makes them go up and down uniformly but an EQ allows you to do that with specific frequencies or a lot of frequencies up and down individually and separate from the fader which is really really useful like we show you how to do all kinds of things of layering in the cinema sound education so let's jump in here on the Left we have the master gain which basically is just like a fader you can turn everything up or down and sometimes we use this as an additional fader when necessary then over here we have HP which doesn't stand for hewlett-packard it stands for a high-pass filter which means that everything that is below this setting in this case 40 Hertz is going to get cut off and that can be really really useful if you've got what we have which is a dialog you know this woman's voice doesn't make any sound underneath 120 Hertz so 90 Hertz and below we just want to cut it off because that won't be her voice that'll be something else and you can select this in terms of decibels per octave or how draconian you want that we're just gonna want this to be 48 decibels per octave we have the same thing up here in the top LP for low-pass filter and we can select this check out what happens if we bring this down right so it gets really really dark when you bring this way down sounds like you know somebody's got a mouth mouth over their hand to hand over their mouth then the next one in this is a little bit different yet this is a shelf and you have all kinds of shelves now shelfs are really aptly named because they act just like that thing that's on your wall and L stands for the low shelf and H for the high shelf let me show you if I bring this up you can see that moving and turn it up in decibels you can see that everything below this area here gets raised and the same thing happens if I reduce it it cuts everything below that frequency and then we can turn this on and off and we can turn this on and do the same thing we really want to boost the high frequencies so check out what happens here if I turn it if I play you cannot Bluff when you hold no cards slowly Ballard and I will not shoot you new Texans in your honor so it's pretty cool for doing just kind of general raising and lowering of a lot of frequency to the high frequencies and then to the low frequencies the rest of these band 2 3 4 & 5 are what we call bell bands very specific you can just choose a specific frequency and move from there so in this case if we've got 200 Hertz let's call it say 500 Hertz and we want to raise it say 10 decibels or so we can select this or in octaves so a 3 or 2 point 9s make it just call read that is a third of an octave so it's a fraction so if you say ten it's going to be very very narrow a tenth of an octave or one is a full octave you cannot Bluff when you hold more cards slowly Ballard and I would if we raised this up to say 2 and a half K it's gonna get really nasty you cannot Bluff when you hold no cards slowly Ballard then of course way up here in the high Sybil in frequencies you cannot Bluff when you hold no cards and if we make it really really narrow you can I kind of hear a pitch out of it you cannot Bluff when you hold no cards slowly Ballard and I will not shoot you you Texans in your honor you cannot Bluff when you hold no cards so it's kind of a cool thing we wouldn't really do that in real life unless you wanted to find something in the frequency spectrum so that's kind of it you have a bunch of these bands and we tell you how to use these really really efficiently in the cinema sound education for all kinds of uses now let's drop down here to the bottom here we have the Q versus width and you can actually say hey listen I don't want to see this in octaves I want to see this in Hertz so this is 20 Hertz 400 Hertz and if you want to do it that way I'm just used to seeing Q's of that totally works for me then you can select ultra quiet which makes this a really hyper quiet algorithm it also takes a little more processing power now over here you have range and this is actually just for this display how high up in do you want this to be 30 decibels minus 15 to minus 15 or 96 decibels 48 to 49 which is in 48 up to 48 down which is really important because you can run this EQ 48s decibels up and 48 decibels down I don't know if any other EQ on any digital audio workstation that'll let you do that which is super super amazing those kind of draconian settings and by now you've already figured out that this blue stuff it's down here is the resulting frequency diagram or readout of the audio itself which super cool now lastly up here we've got various presets that you can select that come with Adobe Audition you can of course save those presets were the ones that you make that are custom and then they'll ultimately show up in here and then over here you have a and for now it's just in stereo but you can select all kinds of other routings if you choose which again we talk about in the cinema sound education that's about it for the parametric EQ on how it functions the basics of it and how to use it and instantiate it in your sessions check out the cinema sound education to learn how and why we use the parametric eq for sound effects dialogue music layering and all kinds of other things in the final mix at cinema sound comm or at the bitly link below here until then we'll see you in post

Channel: Cinema_Sound

Views: 41,376

Keywords: adobe, audition, adobe audition, how to, diy, plugin, au, vst, learn, adobe learn, cinema sound, mark edward lewis, surround sound, filmmaker, filmmaking, mixing, sound, audio, eq, parametric eq, equalizer, frequency

Id: DAhHmlcodYw

Length: 7min 9sec (429 seconds)

Published: Mon Feb 18 2019