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Allaire in By version 2 , it became a full platform that included an IDE in addition to a full scripting language. Allaire and Jeremy Allaire. In Allaire was acquired by Macromedia , which in turn was acquired by Adobe Systems Inc in It is especially well-suited as the server-side technology to the client-side ajax. Other implementations of CFML offer similar or enhanced functionality, such as running in a. NET environment or image manipulation.
The engine was written in C and featured, among other things, a built-in scripting language CFScript , plugin modules written in Java, and a syntax very similar to HTML. In addition to ColdFusion, CFStudio also supports syntax in other languages popular for backend programming, such as Perl.
In addition to making backend functionality easily available to the non-programmer, version 4. All versions of ColdFusion prior to 6. This meant that ColdFusion was largely limited to running on Microsoft Windows , although Allaire did successfully port ColdFusion to Sun Solaris starting with version 3. The Allaire company was sold to Macromedia , then Macromedia was sold to Adobe.
Earlier versions were not as robust as the versions available from version 4. With the release of ColdFusion MX 6. Version 6. Version 3. Released in Nov , version 4 is when the name was changed from "Cold Fusion" to "ColdFusion" - possibly to distinguish it from Cold fusion theory. Version 4. IT also added the getmetricdata function to access performance information , additional performance information in page debugging output, enhanced string conversion functions, and optional whitespace removal.
Version 5 was released in June , adding enhanced query support, new reporting and charting features, user-defined functions, and improved admin tools. It was the last to be legacy coded for a specific platform, and the first release from Macromedia after their acquisition of Allaire Corporation , which had been announced January 16, This made portability easier and provided a layer of security on the server, because it ran inside a Java Runtime Environment.
In June Macromedia released the version 6. With the release of ColdFusion 7. The enterprise edition also added Gateways. XML support was boosted in this version to include native schema checking. ColdFusion MX 7. More than 14, developers worldwide were active in the beta process - many more testers than the 5, Adobe Systems originally expected. In addition, the ColdFusion Administrator for the Enterprise version ships with built-in server monitoring.
ColdFusion 9 Codenamed: Centaur was released on October 5, New features for CF9 include:. ColdFusion 10 Codenamed: Zeus was released on May 15, New or improved features available in all editions Standard, Enterprise, and Developer include but are not limited to :.
Additional new or improved features in ColdFusion Enterprise or Developer editions include but are not limited to :. The lists above were obtained from the Adobe web site pages describing "new features", as listed first in the links in the following list.
CF10 was originally referred to by the codename Zeus, after first being confirmed as coming by Adobe at Adobe MAX , and during much of its prerelease period. For much of , ColdFusion Product Manager Adam Lehman toured the US setting up countless meetings with customers, developers, and user groups to formulate a master blueprint for the next feature set.
In September , he presented the plans to Adobe where they were given full support and approval by upper management. New or improved features available in all editions Standard, Enterprise, and Developer include:. ColdFusion 11 also removed many features previously identified simply as "deprecated" or no longer supported in earlier releases.
For example, the CFLOG tag long offered date and time attributes which were deprecated and redundant, as the date and time is always logged. As of July , Adobe had released 10 updates [12] for ColdFusion New or improved features available in all editions Standard, Enterprise, and Developer include: [13].
Adobe ColdFusion Release was released on Nov 11th, ColdFusion was code named Project Stratus during pre-release. In Sep , Adobe announced the roadmap anticipating releases in and As for the release, the features anticipated at that time in were configurability modularity of CF application services, revamped scripting and object-oriented support, and further enhancements to the API Manager.
The generated document can then either be saved to disk or sent to the client's browser. ColdFusion was originally not an object-oriented programming language like PHP versions 3 and below.
ColdFusion falls into the category of OO languages that do not support multiple inheritance along with Java, Smalltalk, etc. Each component may contain any number of properties and methods. One component may also extend another Inheritance.
Components only support single inheritance. Object handling feature set and performance enhancing has occurred with subsequent releases.
With the release of ColdFusion 8, Java-style interfaces are supported. ColdFusion components use the file extension cfc to differentiate them from ColdFusion templates.
Component methods may be made available as web services with no additional coding and configuration. All that is required is for a method's access to be declared 'remote'. Consider the GET request as shown. This will invoke the component's search function, passing "your query" and "strict" as arguments. This type of invocation is well-suited for Ajax -enabled applications. The ColdFusion server will automatically generate documentation for a component if you navigate to its URL and insert the appropriate code within the component's declarations.
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Final Cut Pro. Audio Music. Home Studio Music. Film School. Today Episode. Music Theory. Video Effects. Motion Photography. Film Photography. Film Effect. Vfx Tutorial. Canal E. See Creating play lists on page Efficient file opening and saving Specify default formats for Open and Save As dialog boxes, and quickly save groups of files to one format. See System preferences on page 34 and Save a group of audio files to one format on page These vibrations push nearby air molecules together, raising the air pressure slightly.
The air molecules under pressure then push on the air molecules surrounding them, which push on the next set of molecules, and so on. As high-pressure areas move through the air, they leave low-pressure areas behind them.
When these waves of pressure changes reach us, they vibrate the receptors in our ears, and we hear the vibrations as sound. When you see a visual waveform that represents audio, it reflects these waves of air pressure. The zero line in the waveform is the pressure of air at rest. When the line swings up to a peak, it represents higher pressure; when the line swings down to a trough, it represents lower pressure. C A 0 B A sound wave represented as a visual waveform A.
Zero line B. Low-pressure area C. High-pressure area Waveform measurements Several measurements describe waveforms: Amplitude Reflects the change in pressure from the peak of the waveform to the trough. High-amplitude waveforms are loud; low-amplitude waveforms are quiet. Cycle Describes a single, repeated sequence of pressure changes, from zero pressure, to high pressure, to low pressure, and back to zero. Frequency Measured in hertz Hz , describes the number of cycles per second.
For example, a Hz waveform has cycles per second. The higher the frequency, the higher the musical pitch. Phase Measured in degrees, indicates the position of a waveform in a cycle. Wavelength Measured in units such as inches or centimeters, is the distance between two points with the same degree of phase. As frequency increases, wavelength decreases. Wavelength B. Degree of phase C. Amplitude D. One second D How sound waves interact When two or more sound waves meet, they add to and subtract from each other.
If their peaks and troughs are perfectly in phase, they reinforce each other, resulting in a waveform that has higher amplitude than either individual waveform. In-phase waves reinforce each other. If the peaks and troughs of two waveforms are perfectly out of phase, they cancel each other out, resulting in no waveform at all. Out-of-phase waves cancel each other out. In most cases, however, waves are out of phase in varying amounts, resulting in a combined waveform that is more complex than individual waveforms.
A complex waveform that represents music, voice, noise, and other sounds, for example, combines the waveforms from each sound together. Because of its unique physical structure, a single instrument can create extremely complex waves. That s why a violin and a trumpet sound different even when playing the same note. Two simple waves combine to create a complex wave. Analog audio: positive and negative voltage A microphone converts the pressure waves of sound into voltage changes in a wire: high pressure becomes positive voltage, and low pressure becomes negative voltage.
When these voltage changes travel down a microphone wire, they can be recorded onto tape as changes in magnetic strength or onto vinyl records as changes in groove size. A speaker works like a microphone in reverse, taking the voltage signals from an audio recording and vibrating to recreate the pressure wave.
Digital audio: zeroes and ones Unlike analog storage media such as magnetic tape or vinyl records, computers store audio information digitally as a series of zeroes and ones. In digital storage, the original waveform is broken up into individual snapshots called samples. This process is typically known as digitizing or sampling the audio, but it is sometimes called analog-todigital conversion.
When you record from a microphone into a computer, for example, analog-to-digital converters transform the analog signal into digital samples that computers can store and process. Sample rate Sample rate indicates the number of digital snapshots taken of an audio signal each second.
This rate determines the frequency range of an audio file. The higher the sample rate, the closer the shape of the digital waveform is to that of theoriginalanalogwaveform. A B Two sample rates A. Low sample rate that distorts the original sound wave. High sample rate that perfectly reproduces the original sound wave. To reproduce a given frequency, the sample rate must be at least twice that frequency.
See Nyquist frequency on page For example, CDs have a sample rate of 44, samples per second, so they can reproduce frequencies up to 22, Hz, which is beyond the limit of human hearing, 20, Hz. Here are the most common sample rates for digital audio:. When a sound wave is sampled, each sample is assigned the amplitude value closest to the original wave s amplitude.
Higher bit depth provides more possible amplitude values, producing greater dynamic range, a lower noise floor, and higher fidelity: Bit depth Quality level Amplitude values Dynamic range 8-bit Telephony db bit CD 65, db bit DVD 16,, db bit Best 4,,, db db db 96 db 48 db 0 db 8-bit bit bit bit Higher bit depths provide greater dynamic range. Audio file contents and size An audio file on your hard drive, such as a WAV file, consists of a small header indicating sample rate and bit depth, and then a long series of numbers, one for each sample.
These files can be very large. For example, at 44, samples per second and 16 bits per sample, a file requires 86 KB per second about 5 MB per minute. That figure doubles to 10 MB per minute for a stereo CD, which has two channels. Through Line In or Microphone In ports, the sound card receives analog audio and digitally samples it at the specified rate. Adobe Audition stores each sample in sequence until you stop recording.
When you play a file in Adobe Audition, the process happens in reverse. Adobe Audition sends a series of digital samples to the sound card. The card reconstructs the original waveform and sends it as an analog signal through Line Out ports to your speakers. To summarize, the process of digitizing audio starts with a pressure wave in the air. A microphone converts this pressure wave into voltage changes. A sound card converts these voltage changes into digital samples. After analog sound becomes digital audio, Adobe Audition can record, edit, process, and mix it the possibilities are limited only by your imagination.
In Multitrack View, you layer multiple audio files, mixing them together to create sophisticated musical compositions and video soundtracks. With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio.
This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows.
Edit audio 3. Apply effects 4. Save changes In Edit View, you edit, restore, and enhance individual audio files, such as voiceovers, old vinyl recordings, and more. Any saved changes are permanent, making Edit View a great choice for mastering and finalizing files.
See Editing audio files on page Open or create a file Open an existing audio file that you want to modify. Alternatively, create a blank file that you ll record or paste audio into. See Opening audio files in Edit View on page To create a sonic collage, combine pasted audio from multiple files.
Then, select noise or other audio you want to process with effects. See Selecting audio on page In the rack, you can edit and reorder effects until you achieve the perfect results. See Applying effects in Edit View on page See Saving and exporting files on page and Building audio CDs. Saving a file to disk Multitrack workflow Open session 2. Insert or record files 3. Arrange clips 4. Apply effects 5.
Mix tracks 6. Export In Multitrack View, you layer multiple audio files to create stereo or surround-sound mixes. The edits and effects you apply aren t permanent; if a mix doesn t sound good next week, or even next year, simply change mix settings. See About multitrack sessions on page When you create a new session, you specify the sample rate for audio clips the session will contain. See Opening and adding to sessions in Multitrack View on page To build a particularly flexible session, insert audio loops you can choose from over on the Adobe Audition Loopology DVD.
See Insert an audio file into a session on page 47 and Record audio clips in Multitrack View on page Inserting from the Files panel. In Multitrack View, edits are impermanent for maximum flexibility. But if you want to permanently edit a clip, simply double-click it to enter Edit View. See Arranging clips on page and Editing clips on page Arranging and editing clips in the Main panel Apply effects Apply effects in the Effects Rack, where you can edit, group, and reorder effects on each track.
At any future time, you can update or remove effects to address the needs of different audio projects. See Applying effects in Multitrack View on page Applying effects in the Effects Rack. As you build more complex mixes, combine related tracks in buses, and use sends to output individual tracks to multiple destinations.
Then automate effect and mix settings over time, creating a dynamic, evolving mix that highlights different musical passages. See Track routing and EQ controls on page and Automating track settings on page Routing and mixing tracks in the Mixer Export Export your finished mix to a file, which you can automatically insert in Edit View for mastering or CD View for archiving and distributing.
See Export a session to an audio file on page and Building audio CDs. However, all three views have similar basic components, such as view buttons, the Main panel, and the status bar. View buttons B. Menu bar C. Toolbar D. Shortcut bar E. Main panel F. Various other panels G. Status bar G. To edit individual files, use Edit View. Edit View and Multitrack View use different editing methods, and each has unique advantages. Edit View uses a destructive method, which changes audio data, permanently altering saved files.
Such permanent changes are preferable when converting sample rate and bit depth, mastering, or batch processing. Multitrack View uses a nondestructive method, which is impermanent and instantaneous, requiring more processing power, but increasing flexibility. This flexibility is preferable when gradually building and reevaluating a multilayered musical composition or video soundtrack.
You can combine destructive and nondestructive editing to suit the needs of a project. If a multitrack clip requires destructive editing, for example, simply double-click it to enter Edit View. Likewise, if an edited waveform contains recent changes that you dislike, use the Undo command to revert to previous states destructive edits aren t applied until you save a file.
For more information about Edit View, see Editing audio files on page 65; for more information about Multitrack View, see Mixing multitrack sessions. In Multitrack View, double-click an audio clip to open it in Edit View. Alternatively, double-click a file in the Files panel. Or, select an audio clip in either the Files panel or the Main panel, and then click the Edit File button in the Files panel. Comparing Edit View and Multitrack View on page 20 Keys for opening views on page Zooming audio Zooming adjusts the view of the timeline display in the Main panel.
The ideal zoom level depends on your current task. For example, you can zoom in to see details in an audio file or multitrack session, or you can zoom out to get an overview. YoucaneitherclickbuttonsintheZoompanel,ordragscrollbars and rulers. Click buttons in Zoom panel B. Drag scroll bars C. Click the Zoom In Horizontally button to zoom in on the center of the visible waveform or session.
Click the Zoom To Selection button to zoom in on the currently selected range. Click the Zoom Out Horizontally button to zoom out from the center of the visible waveform or session. Zoom with a scroll bar or ruler In the Main panel, do any of the following Move the pointer to either edge of a horizontal or vertical scroll bar. When the pointer becomes a magnifying glass with arrows, drag left or right, or up or down.
Right-click and drag in the horizontal ruler to zoom into a specific time range. The magnifying glass icon appears, creating a selection that shows you the range that will fill the Main panel.
Edit View only Right-click and drag in the vertical ruler to zoom into a specific amplitude range. The magnifying glass icon appears, creating a selection of the range that will fill the Main panel.
To zoom with the mouse wheel, place the pointer over the appropriate scroll bar or ruler, and roll the wheel. In Edit View, this zoom method also works when the pointer is over the waveform. You can set the percentage of this zoom on the General tab of the Preferences dialog box. See General preferences on page Navigate with a scroll bar or ruler At higher zoom levels, you may need to scroll to see different audio content in the Main panel. This sets the position of the scroll bar for only the current view Edit View or Multitrack View.
Horizontal scroll bar B. Vertical scroll bar Multitrack View only C. Vertical ruler Edit View only D. Horizontal ruler To scroll through time, drag the horizontal scroll bar, or drag left or right in the horizontal ruler. To scroll through audio amplitudes in Edit View, drag up or down in the vertical ruler.
To scroll through tracks in Multitrack View, drag the vertical scroll bar. To scroll through tracks with the mouse wheel, place the pointer over the track display, and roll the wheel. The panel displays this information in the current time format, such as Decimal or Bars And Beats. See To change the time display format on page Monitoring time during recording and playback on page 54 Dock, group, or float panels on page Although each application has its own set of panels such as Tools, Properties, Timeline, and so on , you move and group panels in the same way across products.
The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that stand alone. You customize a workspace by arranging panels in the layout that best suits your working style.
You can create and save several custom workspaces for different tasks for example, one for editing and one for previewing. You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window.
As you rearrange panels, the other panels resize automatically to fit the window. YoucanusefloatingwindowstocreateaworkspacemorelikethoseinpreviousversionsofAdobeapplications,orto place panels on multiple monitors. B C A Example workspace A.
Application window B. Grouped panels C. Individual panel For a video about the Adobe workspace, see Dock, group, or float panels You can dock panels together, move panels into or out of a group, and undock a panel so that it floats in a new window above the application window. As you drag a panel, drop zones areas onto which you can move the panel become highlighted.
The drop zone you choose determines where the panel is inserted, and whether it docks or groups with other panels. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel. Groupingapanelstacksit with other panels. A B C Dragging panel A onto grouping zone B to group it with existing panels C Dock or group panels 1 If the panel you want to dock or group is not visible, choose it from the Window menu.
Drag group gripper to move entire group The application docks or groups the panel, according to the type of drop zone. Undock a panel in a floating window When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window.
You can use floating windows to make use of a secondary monitor, or to create a workspace like those in earlier versions of Adobe applications. Select the panel you want to undock if it s not visible, choose it from the Window menu , and then do one of the following: Choose Undock Panel or Undock Frame from the panel menu. Undock Frame undocks the panel group. When you release the mouse button, the panel or group appears in a new floating window. Drag the panel or group outside the application window.
If the application window is maximized, drag the panel to the Windows task bar. Resize panel groups When you position the pointer over dividers between panel groups, resize icons appear. When you drag these icons, all groups that share the divider are resized. For example, suppose your workspace contains three panel groups stacked vertically. If you drag the divider between the bottom two groups, they are resized, but the topmost group doesn t change.
Do not press Shift. Press the tilde key again to return the panel to its original size. The pointer becomes a double-arrow. To resize in both directions at once, position the pointer at the intersection between three or more panel groups. The pointer becomes a four-way arrow. A B Dragging divider between panel groups to resize them horizontally A. Original group with resize icon B. Resized groups Open and close panels and windows Even if a panel is open, it may be out of sight, beneath other panels.
Choosing a panel from the Window menu opens it and brings it to the front. Whenyoucloseapanelgroupintheapplicationwindow,theothergroupsresizetomakeuseofthenewlyavailable space. When you close a floating window, the panels within it close, too.
To open or close a panel, choose the panel from the Window menu. To close a panel or window, click its Close button. Working with multiple monitors To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on the main monitor, and you place floating windows on the second monitor. Monitor configurations are stored in the workspace.
Dock, group, or float panels on page Some tools are unique to each view. Likewise, some Edit View tools are available only in spectral displays. However,youcanundockthetoolbar,converting it to the Tools panel, which you can manipulate like any other panel. A check mark by the Tools command indicates that it is shown. To undock the toolbar from its default location, drag the handle at the left edge to another location in the work area. To redock the Tools panel in its default location, drag the Tools panel tab to the drop zone that spans the entire width of the Adobe Audition window, just under the menu bar.
A B Available toolbar buttons differ in each view. Multitrack View toolbar Dock, group, or float panels on page 23 Basic components of Edit, Multitrack, and CD View on page 19 Display the shortcut bar Theshortcutbardisplaysbuttonsthatprovidequickaccesstocommonlyusedfunctions.
Theshortcutbarappears in the upper part of the application window, below the menu bar and the default location of the toolbar. To identify a button, place the pointer over the button until a tool tip appears. You can show or hide the status bar and select which types of information appear there. Adobe Audition Workshop Instructor: Sam Fuqua Class Objectives Learn the interface for Adobe s audio enhancement software Learn how to do basic recordings, both single and multi-track Learn how to repair.
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