Compression is the subtle adjustment of loudness, often limited to certain frequency ranges and with specific rates of modification, that can make a recording feel more professional and easier to listen to. Equalization, or EQ, is the emphasis or reduction of certain frequencies that can help audio content fit well with other material or make it more pleasant to our ears. Once you've cleaned up the sound, it's time to make it pop! This is typically achieved through the use of Compression and Equalization. Let's dive in and take a closer look at what each Mix Type offers and how to customize the panel for your own organization or project. For music, the next step might be to stretch or leverage Adobe Audition Remix to recompose a music clip to match the duration of your video project. For dialogue recordings, the next step might be to clean up background noise or electrical hums before adding compression and EQ. Each group of effects and controls are placed in the natural order an audio expert would follow such as first ensuring all content was at a standard, consistent level. In the ESP, selecting one or more clips and assigning a Mix Type - the role those clips play in the production - exposes several effects appropriate for that type. DME (Dialogue, Music, Effects) is a common audio mixing and deliverable methodology ensuring each element of a production's sound is mixed and has appropriate effects for its role in the project. The Essential Sound Panel (or ESP as one of our pre-release users cleverly named it in awe upon first trying it out) guides editors through standard mixing tasks for Dialogue, Music, Sound Effects, and Ambient or Environmental audio content. With that in mind, we created the Essential Sound Panel which is available in the latest release of Adobe Audition. Editors working on tight deadlines with shrinking budgets didn't always have the luxury of sending a project off to an audio professional for mixing, and often when they tried to do it themselves, they got lost or did not know how to achieve the results they wished for. In chatting with customers, those of us on the Audition team kept hearing a similar call to simplify audio production. Expert-level color manipulation and calibration workflows had previously been a foreign language to many editors, but the intuitive tools and friendly labels of the Lumetri panel helped all of us become more familiar and embracing of consistent, dynamic color in our productions. A year ago, Adobe Premiere Pro released a feature called the Lumetri Color Panel which concentrated the incredible color correction tools in the rather complicated Adobe SpeedGrade application into a very approachable set of tools accessible to almost anyone.
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