(H) Multi-Track Fade Controls: Click to fade all sources down to 0% or up to 100%, over 0.5 seconds. (G) Balance Slider: This slider adjusts the balance passed along from the source. (F) Solo Button: When clicked, the Solo button will prevent all other audio tracks from passing through the Mixer block. Shift-clicking will fade up over 2 seconds. (E) Fade Up to 100%: Clicking this will fade the source up to 100% volume over 0.5 seconds. (D) Volume Slider: This slider allows you to adjust the level of audio passed along from the source. It also shows a general volume level, indicated by the number of waves coming out of the speaker. (C) Mute Control: Click this to instantly mute a source entirely. Shift-clicking will fade down over 2 seconds. (B) Fade Down to 0%: Clicking this will fade the source down to 0% volume over 0.5 seconds. (A) Source Indicator: This line shows the source coming into this slot of the Mixer. The annotated controls in the Mixer popover are as follows: Mixer Item Controls Once sources are connected, several controls can be adjusted rapidly from the Mixer block face, as well as its powerful popover. The Mixer block makes it possible to mix up to 5 different sources, all in one place. If you hold Shift while clicking, a slower 2 second fade will occur. When the switch is clicked, audio will fade from A to B (or vice versa) over 0.5 seconds. The inputs to Input Switch can be as simple as two blocks like the Application or Input Device blocks:Īlternately, whole pipelines can feed into the Input Switch: This makes it possible to quickly switch what audio is heard farther down the pipeline, great for podcasts, broadcasts, and more. Only the actively selected input will have its audio passed through the chain. The Input Switch block passes along audio from only one of its two inputs, either A or B. This block’s interface allows easy loading of impulse response files, which can be found many places online. Impulse responses can be captured from real-world spaces or hardware units, allowing you to recreate the acoustics of a cathedral or the sound of a vintage amplifier, for example. It can be used to emulate specific environments or hardware, by applying a mathematical convolution to your audio with a pre-recorded impulse response file, effectively imprinting the characteristics of the original environment or hardware onto your sound. The FIR (Finite Impulse Response) Filter block is a powerful tool that uses impulse responses to filter audio. When that occurs, the secondary source (or sources) will be lowered to the Ducked Volume specified.Īmong other uses, the Ducking block is particularly helpful for doing voiceovers on top of music. Its audio will not be heard at all until it reaches the specified Overlay Threshold. The first source connected to a Ducking block is called the “Overlay” source. The Ducking block causes the volume of a source (or sources) to be lowered automatically when a specified source reaches a pre-defined volume. To obtain the optimal results, you'll likely want to experiment with the settings on each block frequently. The Remaining Noise Floor setting controls how much noise is left in the audio, to avoid unnatural silences and artifacts caused by noise removal. The Noise Reduction setting adjusts how aggressively the block will remove noise, with higher settings removing more noise. Once the block has been taught a noise, it will work to remove it from audio that passes through it. Denoise must be trained with an example of the audio you wish to remove, by clicking the Learn Noise button while audio is flowing. The Denoise block can be used to remove specific noises found in your audio. Take note of the two built-in presets, which will help remove two common base frequencies, 50 and 60 Hz. The Base Frequency setting should be adjusted to identify the frequency of the hum you wish to remove, while the Dehum Amount setting adjusts how aggressively the block will remove hum. The Dehum block can remove low frequency hum, which may be a result of a lack of proper electrical grounding in the original recording. A higher threshold will result in fewer repairs, but better avoid false positives. A lower threshold will repair more clicks, but may result in false positives. The Threshold slider adjusts the sensitivity of click detection. It can also help remove clicks caused by digital errors. The Declick block can be used to restore audio pulled from vinyl, which often has clicks, pops, and crackles. The Declick, Dehum, and Denoise blocks are each designed to assist in cleaning up audio that is corrupted in various ways, based on settings you provide. A brief overview of each of these blocks is included below. The Advanced section of Audio Hijack's block library contains several blocks which can help in less common scenarios. Support → Audio Hijack → Manual Advanced Blocks
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