in order to apply the noise reduction effect in adobe audition, you must first define a:

Spread your fingers and hold them up a few inches in front of one eye, and close the other. If we add a little noise to the recording process… well, first, an analogy… An analogy Equally disturbing, components smaller than the level of one bit simply won’t be recorded at all. It’s easy to see that the lower the signal levels, the higher the relative distortion. In fact, if you think about the quietest sine wave you can play back this way, you’ll realize it’s one bit in amplitude-and therefore plays back as a square wave. If you adjust the recording to allow for peaks that hit the full sixteen bits, that means much of the music is recorded at a much lower volume-using fewer bits. We don’t listen to full-amplitude (“full code”) sine waves, for instance. And it is pretty good-if you use all of it all of the time. The technical term for this is “finite wordlength effects”.Īt first blush, 16 bits sounds pretty good-96 dB dynamic range, we’re told. The problem results from something Nyquist didn’t mention about a real-world implementation-the shortcoming of using a fixed number of bits (16, for instance) to accurately represent our sample points. It’s a good trade, and one that our ears like. We trade a little low-level hiss for a big reduction in distortion. Yes, we add noise on purpose, and it is a good thing. To dither means to add noise to our audio signal.

In order to apply the noise reduction effect in adobe audition, you must first define a: