The Modulation > Chorus effect simulates several voices or instruments played at once by adding multiple short delays with a small amount of feedback. The result is lush, rich sound. You can use Chorus to enhance a vocal track or add stereo spaciousness to mono audio.
Adobe Audition uses a direct‑simulation method to achieve a chorus effect, making each voice sound distinct from the original by slightly varying timing, intonation, and vibrato. The Feedback setting lets you add extra detail to the result.
To achieve the best results with mono files, convert them to stereo before applying the Chorus effect.
Represent the characteristics of each voice in the chorus.
Determines the number of simulated voices.
Note: As you add more voices, the sound becomes richer and richer —but processing time also increases.
Specifies the maximum amount of delay allowed. Chorusing introduces short delays (often in the 15‑35 millisecond range) that vary in duration over time. If the setting is very small, all the voices start merging into the original, and an unnatural flanging effect might occur. If the setting is too high, a warbled effect might occur, like a tape being eaten by a cassette deck.
Determines how quickly the delay cycles from zero to the maximum delay setting. Because the delay varies over time, the pitch of the sample increases or decreases over time, giving the effect of separate, slightly out of tune voices. For example, a rate of 2 Hz would vary the delay from zero to the maximum and back twice per second (simulating a pitch vibrato at twice per second). If this setting is too low, the individual voices don’t vary much in pitch. If it is set too high, the voices may vary so quickly that a warbled effect might occur.
Adds a percentage of processed voices back into the effect input. Feedback can give a waveform an extra echo or reverb effect. A little feedback (less than 10%) can provide extra richness, depending on the delay and vibrato settings. Higher settings produce more traditional feedback, a loud ringing which can get loud enough to clip the signal.
Gives an added delay to each voice, separating them in time by as much as 200 milliseconds (1/5th of a second). High values cause the separate voices to start at different times—the higher the value, the farther apart the onset of each voice may be. In contrast, low values cause all voices to be in unison. Depending on other settings, low values can also produce flanging effects, which may be undesirable if your goal is a realistic chorus effect.
Determines the maximum variation in amplitude that occurs. For example, you can alter the amplitude of a chorused voice so that it is 5 dB louder or quieter than the original. At extremely high settings, the sound may cut in and out, creating an objectionable warble. At extremely low settings (less than 1 dB), the depth may be unnoticeable unless the Modulation Rate is set extremely high. Natural vibratos occur around 2 dB to 5 dB.
Note that this setting is a maximum only; the vibrato volume might not always go as low as the setting indicates. This limitation is intentional, as it creates a more natural sound.
Determines the maximum rate at which amplitude changes occur. With very low values, the resulting voice slowly gets louder and quieter, like a singer that cannot keep his or her breath steady. With very high settings, the result can be jittery and unnatural.
Ensures the best quality results. Increasing the quality, however, increases the processing time for previewing and applying the effect.
Determines where the individual voices are placed in the stereo field and how the original stereo signal is interpreted. These options are active only when you work with stereo files:
Average Left & Right Channel Input
Combines the original left and right channels. If deselected, the channels are kept separate to preserve the stereo image. Leave this option deselected if the stereo source audio was originally monophonic—it won’t have any effect other than increasing processing time.
Add Binaural Cues
Adds separate delays to the left and right outputs of each voice. This delay can make each voice seem to come from a different direction when you listen through headphones. For greater stereo separation, deselect this option for audio that will be played through standard speakers .
Specifies where chorused voices are placed across the left and right stereo image. At lower settings, voices are closer to the center of the stereo image. At a setting of 50%, voices are spaced evenly from left to right. At higher settings, voices move to the outer edges. If you use an odd number of voices, one is always directly in the center.
Sets the ratio of original (Dry) signal to chorused (Wet) signal. Extremely high settings may cause clipping.
In the Multitrack Editor, you can vary the Wet level over time with automation lanes. (See Automating track settings.)This technique is handy for emphasizing vocal or instrumental solos.
The Modulation > Chorus/Flanger effect combines two popular delay-based effects. The Chorus option simulates several voices or instruments played at once by adding multiple short delays with a small amount of feedback. The result is lush, rich sound. Use this effect to enhance vocal tracks or add stereo spaciousness to mono audio.
The Flanger option creates a psychedelic, phase‑shifted sound by mixing a varying, short delay with the original signal. This effect was originally created by sending an identical audio signal to two reel‑to‑reel tape recorders, and periodically pressing the flange of one reel to slow it down.
Simulates several voices or instruments playing at once.
Simulates the delayed, phase-shifted sound originally heard in psychedelic music.
Controls the rate at which the delay time cycles from zero to the maximum setting.
Specifies the maximum amount of delay.
Controls the ratio of original to processed audio.
Emphasizes transients, giving them a sharper, more distinct sound.
Flanging is an audio effect caused by mixing a varying, short delay in roughly equal proportion to the original signal. It was originally achieved by sending an identical audio signal to two reel‑to‑reel tape recorders, and then pressing the flange of one reel to slow it down. Combining the two resulting recordings produced a phase‑shifted, time‑delay effect, characteristic of psychedelic music of the 1960s and 1970s. The Modulation > Flanger effect lets you create a similar result by slightly delaying and phasing a signal at specific or random intervals.
Initial Delay Time
Sets the point in milliseconds at which flanging starts behind the original signal. The flanging effect occurs by cycling over time from an initial delay setting to a second (or final) delay setting.
Final Delay Time
Sets the point in milliseconds at which flanging ends behind the original signal.
Sets the left and right delays at separate values, measured in degrees. For example, 180° sets the initial delay of the right channel to occur at the same time as the final delay of the left channel. You can set this option to reverse the initial/final delay settings for the left and right channels, creating a circular, psychedelic effect.
Determines the percentage of the flanged signal that is fed back into the flanger. With no feedback, the effect uses only the original signal. With feedback added, the effect uses a percentage of the affected signal from before the current point of playback.
Determines how quickly the delay cycles from the initial to final delay times, measured either in cycles per second (Hz) or beats per minute (beats). Small setting adjustments produce widely varying effects.
Provides three ways of flanging:
Inverts the delayed signal, cancelling out audio periodically instead of reinforcing the signal. If the Original ‑ Expanded mix settings are set at 50/50, the waves cancel out to silence whenever the delay is at zero.
Mixes the normal and inverted flanging effects. The delayed signal is added to the effect while the leading signal is subtracted.
Makes the transition from initial delay to final delay and back follow a sine curve. Otherwise, the transition is linear, and the delays from the initial setting to the final setting are at a constant rate. If Sinusoidal is selected, the signal is at the initial and final delays more often than it is between delays.
Adjusts the mix of original (Dry) and flanged (Wet) signal. You need some of both signals to achieve the characteristic cancellation and reinforcement that occurs during flanging. With Original at 100%, no flanging occurs at all. With Delayed at 100%, the result is a wavering sound, like a bad tape player.
Similar to flanging, phasing shifts the phase of an audio signal and recombines it with the original, creating psychedelic effects first popularized by musicians of the 1960s. But unlike the Flanger effect, which uses variable delays, the Modulation > Phaser effect sweeps a series of phase-shifting filters to and from an upper frequency. Phasing can dramatically alter the stereo image, creating unearthly sounds.
Specifies the number of phase-shifting filters. A higher setting produces denser phasing effects.
Determines the amount of phase‑shifting applied to the signal.
Determines how far the filters travel below the upper frequency. Larger settings produce a wider tremolo effect; 100% sweeps from the upper frequency to zero Hz.
Modulation rate controls how fast the filters travel to and from the upper frequency. Specify a value in Hz (cycles per second).
Determines the phase difference between stereo channels. Positive values start phase shifts in the left channel, negative values in the right. The maximum values of +180 and -180 degrees produce a complete difference and are sonically identical.
Sets the upper-most frequency from which the filters sweep. To produce the most dramatic results, select a frequency near the middle of the selected audio’s range.
Feeds a percentage of the phaser output back to the input, intensifying the effect. Negative values invert phase before feeding audio back.
Controls the ratio of original to processed audio.
Adjusts the output level after processing.