Adobe AUDITION 1.5 User Manual
1
.5
Adobe
®
™
Audition
1
.5
Us er Guide
©
2004 Adobe Systems Incorporated. All rights reserved.
®
Adobe
Audition™ 1.5 User Guide for Windows®.
If this guide is distributed with software that includes an end-user agreement, this guide, as well as the software described in it, is furnished
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Corporation in the U.S. and/or other countries. mp3PRO audio coding technology licensed from Coding Technologies, Fraunhofer IIS and
Thomson Multimedia. VST is a trademark of Steinberg Media Technologies AG. ReWire is a product of Propellerhead Software. All other
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product in revenue-generating broadcast systems (terrestrial, satellite, cable, and/or other distribution channels), streaming applications (via
Internet, intranets, and/or other networks), other content distribution systems (pay-audio or audio-on-demand applications and the like)
or on physical media (compact discs, digital versatile discs, semiconductor chips, hard drives, memory cards, and the like). An independent
license for such use is required. For details, please visit http://mp3licensing.com
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Part number: 90050796 (05/2004)
Contents
iii
Learning about Adobe Audition
Getting help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Working with Adobe Audition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
What’s New in Adobe Audition 1.5
Use integrated tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Sound your best . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Work efficiently . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Chapter 1
Chapter 2
Looking at the Work Area
About the work area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
About using Edit View and Multitrack View . . . . . . . . . . . . . . . . . . . .10
Switching between views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Choosing commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Using toolbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Using windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Navigating in the display window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Using the status bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Undoing and redoing changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Organizing files and effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Setting up Adobe Audition
About setting up Adobe Audition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Setting up devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Setting Adobe Audition preferences . . . . . . . . . . . . . . . . . . . . . . . . . .43
Managing temporary files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
CONTENTS
iv
Chapter 3
Chapter 4
Importing, Recording, and Playing Audio
Opening audio files and multitrack sessions . . . . . . . . . . . . . . . . . . .61
Inserting audio files into multitrack sessions . . . . . . . . . . . . . . . . . . 63
Importing audio from CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Setting the current-time indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Monitoring time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Using the transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Recording audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Playing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Stopping, pausing, and adjusting the playback cursor . . . . . . . . . 78
Monitoring recording and playback levels . . . . . . . . . . . . . . . . . . . . . 79
Editing Audio
About editing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Creating new audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Viewing waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Selecting audio data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Copying, cutting, pasting, and deleting . . . . . . . . . . . . . . . . . . . . . . . . 92
Working with cues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Creating play lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Creating and deleting silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Inverting and reversing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Generating audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Converting the sample type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
Adding file properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Chapter 5
Enhancing and Restoring Audio
About enhancing and restoring audio . . . . . . . . . . . . . . . . . . . . . . .117
About the mastering process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Analyzing frequency, phase, and dynamic range . . . . . . . . . . . . . .118
Removing noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Filtering audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Optimizing amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
v
Chapter 6
Chapter 7
Applying Stereo, Pitch, and Delay Effects
About using stereo, pitch, and delay effects . . . . . . . . . . . . . . . . . .139
Changing stereo imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Using chorus, flanger, and phaser effects . . . . . . . . . . . . . . . . . . . . .143
Changing pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Adding delays and echoes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Adding reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Creating special effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153
Using multitrack-only effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Mixing Multitrack Sessions
About mixing multitrack sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
Working with sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Setting advanced session properties . . . . . . . . . . . . . . . . . . . . . . . . .167
Working with clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168
Working with audio tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Working with ReWire tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Working with MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Using real-time effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Automating mixes with clip envelopes . . . . . . . . . . . . . . . . . . . . . . .188
Using the Mixers window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190
Mixing down ReWire tracks and specific audio clips . . . . . . . . . .196
Chapter 8
Using Loops
About loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197
Defining loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Calculating the tempo of selected ranges . . . . . . . . . . . . . . . . . . . .199
Setting permanent loop properties in Edit View . . . . . . . . . . . . . .200
Setting impermanent loop properties in Multitrack View . . . . .202
Setting the tempo, time signature, and key for sessions . . . . . . .204
Working with loops in the track display . . . . . . . . . . . . . . . . . . . . . .205
CONTENTS
vi
Chapter 9
Chapter 10
Chapter 11
Working with Video
About working with video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Working with Adobe Premiere Pro and After Effects . . . . . . . . . .207
Importing audio and video from video files . . . . . . . . . . . . . . . . . .208
Working with video clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Previewing video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210
Preparing video mixdowns for export . . . . . . . . . . . . . . . . . . . . . . . .211
Creating Surround Sound
About surround sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213
Using the Multichannel Encoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Panning tracks and buses for surround sound . . . . . . . . . . . . . . . .215
Adjusting volume levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220
Zooming into and out of the waveform display . . . . . . . . . . . . . . .221
Previewing the multichannel project . . . . . . . . . . . . . . . . . . . . . . . . .221
Exporting surround-sound files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223
Saving, Exporting, and Closing Files
Saving audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227
Saving and exporting sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228
Closing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231
Choosing an audio file format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231
Chapter 12
Scripting and Batch Processing
About scripting and batch processing . . . . . . . . . . . . . . . . . . . . . . .243
Batch processing cue ranges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .243
Normalizing groups of files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244
Batch processing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .247
Working with scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Using favorites (Edit View only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253
vii
Chapter 13
Appendix A
Appendix B
Burning Audio CDs
Using CD Project View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257
Assembling tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257
Editing the source audio for tracks . . . . . . . . . . . . . . . . . . . . . . . . . . .260
Setting track properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260
Writing a CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261
Keyboard Shortcuts
About keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263
Keys for playing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263
Keys for selecting ranges, channels, and tracks . . . . . . . . . . . . . . .264
Keys for copying waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264
Keys for editing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265
Keys for repeating commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265
Keys for using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265
Keys for scrolling waveforms and sessions . . . . . . . . . . . . . . . . . . . .266
Keys for viewing windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266
Digital Audio Primer
Sound fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267
Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268
Analog audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Digital audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Sampling rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Bit depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271
Where Adobe Audition fits into the process . . . . . . . . . . . . . . . . . .272
Introducing MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273
Appendix C
Glossary
Index
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .291
Learning about Adobe Audition
1
elcome to Adobe® Audition
TM
1.5, the ultimate software tool for audio editing,
mixing, and mastering.
W
Adobe provides a variety of options you can use to learn Adobe Audition, including online
Help and tool tips. You can also use the Adobe Web site to easily access a wide range of
continually updated Web resources, from tutorials to technical support information.
Many files on the Adobe Web site are in Adobe PDF format. To view these files, use
®
Adobe Reader
Getting help
There are a number of ways to get the help you need in Adobe Audition. The following
three tables can help you find specific resources related to Adobe Audition features,
training resources, and support.
Finding Help for Adobe Audition features
If you . . . Try this . . .
Want information about
installing Adobe Audition
, included on the Adobe Audition CD.
Insert the Adobe Audition application CD into your CD drive, and follow
•
the on-screen installation instructions. (You cannot run Adobe Audition
from the CD.)
•
See the ReadMe file on the application CD.
Are new to Adobe Audition
and want an overview of tools
and features
Are upgrading from a previous
version of Adobe Audition
•
For information about specific tasks, see “Working with Adobe Audition”
on page 3.
•
For information about the user interface, see “About the work area” on
page 9.
•
Move the pointer over tools and buttons to view tool and button names.
•
See the beginning tutorials in Help.
See “What’s New in Adobe Audition 1.5” on page 5 to get an overview of
new features. Or, for more detailed information, see the NewFeatures.pdf
file on the Adobe Audition application CD.
2
Learning about Adobe Audition
Finding Help for Adobe Audition features
If you . . . Try this . . .
Are looking for detailed
information about a feature
Want a list of keyboard
shortcuts
Finding Adobe Audition training resources
If you . . . Try this . . .
Want to obtain in-depth
Adobe Audition training
Are looking for background
information on digital audio
Want information about
becoming an Adobe Certified
Expert
Want training from an Adobe
Certified Training Provider
In Help, use the Index or Search tabs.
•
In windows and dialog boxes, click the Help button or press F1.
•
See “Keyboard Shortcuts” on page 263.
•
See the tutorials on the Adobe Studio Web site at www.studio.adobe.com.
•
Browse the Adobe Press materials at www.adobepress.com (English only)
and the training resources at www.adobe.com/support/training.html.
•
For step-by-step lessons, consider the Adobe Classroom in a Book series.
See the “Glossary” on page 275 and “Digital Audio Primer” on page 267.
Visit the Partnering with Adobe Web site at http://partners.adobe.com.
Certification is available for several different geographical regions.
See the Training page of the Adobe Web site at
www.adobe.com/support/training.html.
Finding support for Adobe Audition
If you . . . Try this . . .
ADOBE AUDITION 1.5
User Guide
3
Want customer or technical
support
Want answers to common
troubleshooting questions
Want to register your copy of
Adobe Audition
Want to access downloads or
links to user forums
Refer to the technical support card provided with your software.
•
•
See the Adobe Audition support page at
www.adobe.com/support/products/audition.html.
See the ReadMe file installed with Adobe Audition for information that
•
became available after this guide went to press.
Visit the Adobe Audition support page at
www.adobe.com/support/products/audition.html.
When you first start Adobe Audition, you’re prompted to register online.
•
Fill out the form, and then submit it directly or fax a printed copy.
Fill out and return the registration card included with your software package.
•
Visit the main Adobe Audition page at www.adobe.com/audition.
Working with Adobe Audition
You can work with Adobe Audition in many different ways. In this section, you’ll find directions to specific information to help you accomplish some common Adobe Audition tasks.
If you want to increase productivity
Use the Organizer window to quickly organize files, preview loops, and apply effects.
•
(See “Organizing files and effects” on page 24 and “Previewing audio by using the
Organizer window” on page 77.)
•
Automatically convert audio from a CD into an editable waveform. (See “Importing
audio from CD” on page 64.)
•
Store selections and start points in cues to speed up editing and navigation tasks. (See
“Working with cues” on page 96.)
Batch process files to quickly apply favorite processing or prepare audio for specific
•
mediums, such as audio CD or the Web. (See “Scripting and Batch Processing” on
page 243.)
4
Learning about Adobe Audition
If you want to create video soundtracks
Easily create and remix soundtracks used in Adobe® Premiere® Pro and After Effects®
•
projects. (See “Working with Adobe Premiere Pro and After Effects” on page 207.)
Time stretch audio clips to match video. (See “Time stretching audio clips” on
•
page 177.)
•
Generate noises and tones for sound effects. (See “Generating audio” on page 106.)
•
Create surround-sound mixes. (See “About surround sound” on page 213.)
If you want to record and mix musical compositions
Nondestructively record and edit multitrack sessions of up to 128 tracks. (See “About
•
mixing multitrack sessions” on page 161.)
•
Automate mixes with clip envelopes. (See “Automating mixes with clip envelopes” on
page 188.)
•
Apply, edit, and rearrange real-time effects, without making any permanent changes.
(See “Using real-time effects” on page 185.)
•
Build compositions with musical loops. (See “About loops” on page 197.)
Synchronize with ReWire and SMPTE. (See “Setting up ReWire connections” on
•
page 42 and “Setting up for SMPTE synchronization” on page 40.)
What’s New in Adobe
Audition 1.5
his overview introduces you to the key new features of Adobe Audition 1.5,
including streamlined workflow with other Adobe products, powerful new effects,
integrated CD burning, and more.
T
Use integrated tools
Adobe Audition tightly integrates with flexible audio technology like ReWire and VST, and
video applications like Adobe Premiere Pro and Adobe After Effects.
5
ReWire support
and other audio software such as Propellerhead Reason and Ableton Live. (See “Setting up
ReWire connections” on page 42.)
VST plug-in support
plug-ins, which can also be used in Adobe Premiere Pro. (See “Using plug-in effects” on
page 32.)
Enhanced video integration
track display, and import a wide range of video file formats, including AVI, MPEG, and
WMV. (See “About working with video” on page 207.)
Improved workflow with other Adobe products
Pro, Adobe After Effects, and Adobe
keyboard shortcuts. (See “Working with Adobe Premiere Pro and After Effects” on
page 207.)
Stream full-resolution audio data in real-time between Adobe Audition
Expand your options with integrated support for third-party VST
Edit video soundtracks with ease. View video frames in the
Wo rk smoothly with Adobe Premiere
®
EncoreTM DVD by using similar tools, menus, and
6
What’s New in Adobe Audition 1.5
Sound your best
With high fidelity, 32-bit internal processing, Adobe Audition supports up to 32-bit files
and sample rates up to 10 MHz. Powerful effects, restoration, and pitch correction tools
let you create the exact sound you're after.
Pitch correction tool
Correct off-pitch performances and create pitch-based effects. Use
automatic mode for quick results, or manual mode for precise control. (See “Using the
Pitch Correction effect (Edit View only)” on page 146.)
Frequency space editing
Visually isolate, select, and modify sounds in frequency and
time using the Marquee Selection tool. (See “Selecting audio frequencies in Spectral View”
on page 88.)
Automatic elimination of clicks and pops
Quickly and easily restore digital recordings of
vinyl source material, wireless mics, DV cameras, and other production audio. (See “Using
the Auto Click/Pop Eliminator effect (Edit View only)” on page 125.)
Studio reverb
Apply high-quality reverb that conserves processing resources, while
offering extensive controls. (See “Using the Studio Reverb effect” on page 153.)
New sample sessions
Get up to speed quickly by using any of the 20 sample sessions
included with Adobe Audition. Modify the samples to create your own music. (See “About
mixing multitrack sessions” on page 161.)
New royalty-free loops
Use more than 500 new music loops—for a total of more than
5,000—in a variety of styles including 70’s disco, classic rhumba, and wedding and event.
(See “About loops” on page 197.)
Vocal extraction
Quickly and easily extract the vocal portions of a track to create either
a cappella or karaoke-ready tracks, while preserving the stereo image. (See “Using the
Center Channel Extractor effect” on page 141.)
Flexible envelope scaling
Rescale control points on pan, volume, and effects envelopes to
quickly modify a clip in a multitrack mix. Scale all points simultaneously while
maintaining relative or absolute relationships between points. (See “Automating mixes
with clip envelopes” on page 188.)
ADOBE AUDITION 1.5
Work efficiently
Adobe Audition puts all the tools you need at your fingertips so you can get your work
done quickly and efficiently. An intuitive interface gets you up and running in no time,
and integrated editing, mixing, and CD burning streamline your audio workflow.
User Guide
7
Integrated CD burning
Create masters of your audio compositions by burning gapless
audio CDs directly from Adobe Audition. (See “Using CD Project View” on page 257.)
Time stretching
Visually drag the edge of any audio clip in a multitrack mix to fit a specific
length of time, with or without affecting the clip's pitch. Quickly fit sound effects and
dialog to video clips. (See “Time stretching audio clips” on page 177.)
Preroll and postroll playback
Speed the process of performing destructive edits and
applying effects by listening to the audio preceding and following a selection. (See
“Playing audio by using the transport controls” on page 75.)
Custom keyboard shortcut sets
Customize keyboard shortcut sets to configure Adobe
Audition for your working style. (See “Using shortcuts” on page 12.)
In-time loop previews
Use the Organizer window to preview loops in the tempo and pitch
of the current session before adding them to your mix. (See “Previewing audio by using
the Organizer window” on page 77.)
Task-based documentation
Quickly learn how to complete audio production tasks using
an updated Help system and user guide organized by subjects such as editing, looping, and
video.
Chapter 1: Looking at the
Wo r k Area
elcome to Adobe Audition. Adobe Audition gives you an efficient work area and
user interface to edit and mix audio files.
W
About the work area
Adobe Audition is divided into three main work areas: Edit View, Multitrack View, and CD
Project View. This division is intended to help you focus on the major tasks of editing audio
files, mixing sessions, and burning CDs. For more information on the differences between Edit
View and Multitrack View, see “About using Edit View and Multitrack View” on page 10. For
more information on CD Project View, see “Using CD Project View” on page 257.
A B C
9
Adobe Audition work area
A.
Edit View tabB. Multitrack View tabC. CD Project View tabD. menusE. toolbars
F.
display windowG. various windows
D
E
F
G
CHAPTER 1
10
Looking at the Work Area
All three views have a similar user interface, including the following components:
Menus
The menus in the menu bar contain commands for performing tasks. (See
“Choosing commands” on page 12.)
To olbars
The toolbars hold buttons for applying commonly used functions. (See “Using
toolbars” on page 13.)
Windows
Windows—including the Organizer, Transport Controls, Zoom Controls, Level
Meters, and Selection/View Controls—help you monitor and modify audio files. (See
“Using windows” on page 14.)
Display window
The display window shows you sound in an easy-to-manipulate form. In
Edit View, the display window is where you modify single waveforms. In Multitrack View,
the display window is where you mix multiple audio files in a session. (See “About editing
audio” on page 83 and “About mixing multitrack sessions” on page 161.)
Yo u can change many aspects of Adobe Audition’s appearance, including the color
scheme, the appearance of buttons, and the appearance of the waveform display, in the
Settings dialog box. (See “Setting Adobe Audition preferences” on page 43.)
About using Edit View and Multitrack View
Adobe Audition provides different work areas for editing single waveforms and creating
multitrack mixes. To edit single waveforms, you use Edit View. To mix multiple waveforms
with MIDI and video files, you use Multitrack View.
Edit View and Multitrack View use different editing methods, and each has unique advantages. Edit View uses a
destructive
saved files. Such permanent changes are preferable when converting sample rate and bit
depth, mastering, or batch processing. Multitrack View uses a
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.
method, which changes audio data, permanently altering
nondestructive
method, which
ADOBE AUDITION 1.5
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 access
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 on using Edit View, see “About editing audio” on page 83;
for more information on using Multitrack View, see “About mixing multitrack sessions”
on page 161.
Switching between views
You can use the tabs above the display window or menu commands to switch between Edit
View, Multitrack View, and CD Project View. If you prefer not to use the tabs above the
display window, you can hide them.
User Guide
11
View tabs above the display window
To switch between views:
Do one of the following:
• Choose View > Edit Waveform View, View > Multitrack View, or View > CD Project View.
• Click the Edit View tab, the Multitrack View tab, or the CD Project View tab above the
display window.
• Click the Edit Waveform View button , Multitrack View button , or CD Project
View button in the View toolbar. (See “Using toolbars” on page 13.)
• In Multitrack View, double-click a file in the Files tab of the Organizer window or select
a file and click the Edit File button . Alternatively, double-click a waveform block in
the display window.
To show and hide view tabs above the display window:
Choose View > Show View Tabs. A check mark indicates that the tabs are showing.
CHAPTER 1
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Looking at the Work Area
Choosing commands
Commands let you perform a wide variety of tasks. You can choose commands from the
menus at the top of your screen or click buttons in a toolbar. You can also use contextsensitive (right-click) menus and keyboard shortcuts to quickly execute commands.
Using context-sensitive menus
Adobe Audition makes liberal use of context-sensitive menus. Whenever you see a simple
function button, control, window, or waveform action, try right-clicking it. Chances are
you’ll be surprised by a useful shortcut menu or a set of handy options that can make
Adobe Audition’s operation even easier.
Using shortcuts
Adobe Audition provides a set of standard keyboard shortcuts to help you speed up the
editing process. For example, instead of using your mouse to go to the Edit menu and
choose the Cut command, you can simply press Ctrl + X to cut the selected portion of a
waveform. When available, the keyboard shortcut appears to the right of the command
name in the menu or in the tool tip for a button or icon. Adobe Audition also provides
keyboard shortcuts for performing certain mouse actions. These shortcuts are listed in the
Keyboard Shortcuts appendix.
If a shortcut isn’t working, it’s likely that the window you’re trying to run the shortcut in
doesn’t have focus. For example, if you’re in Edit View and you push F11 to bring up the
Convert Sample Type dialog box and nothing happens, the waveform display probably isn’t the
active window. Click the waveform display to give it focus, and then try the shortcut again.
You can change nearly all of the default shortcuts and add shortcuts for other functions.
In addition, you can add shortcuts that let you execute commands using keys on a MIDI
keyboard, a sequencer, or any other device capable of issuing a MIDI command. This type
of shortcut is referred to as a MIDI Trigger. For example, you can assign the Play command
in Adobe Audition to the C4 note on your MIDI keyboard.
To enable MIDI triggering:
Choose Options > MIDI Trigger Enable. A check mark indicates the MIDI triggering is on.
Important: Before attempting to enable MIDI triggering, you must choose a device for MIDI
In that’s recognized by Windows. For more information, see “Designating which devices you
want to use” on page 36.
ADOBE AUDITION 1.5
To customize a shortcut:
1 Choose Options > Keyboard Shortcuts And MIDI Trigger.
2 Select the function you want to assign the shortcut to.
Note: Yo u can filter the list of functions by choosing an option from the Category menu and
clicking the Multitrack View or Edit View button. To show all functions, choose (show all)
from the Category menu, and deselect the Multitrack View and Edit View buttons.
3 Do any of the following:
• To assign a keyboard shortcut to the function, click in the Keyboard Shortcut text box
and press the desired keyboard combination. Many Adobe Audition users find single
key shortcuts (such as n for Normalize) faster to use and easier to remember.
• To assign a MIDI trigger to the function, click in the MIDI Trigger text box and press
the desired key on the MIDI keyboard. You can also apply MIDI events other than
pressing keys (such as pressing the foot pedal).
• To remove a keyboard shortcut or MIDI trigger from the function, click Clear.
4 If you enter a key combination that’s already in use, Adobe Audition notifies you of the
conflict in the Conflicting Keys text box. Click Clear, and enter a different shortcut before
continuing.
5 Click OK.
User Guide
13
To restore the default keyboard shortcuts:
1 Choose Options > Keyboard Shortcuts And MIDI Trigger.
2 Choose Adobe Audition Default from the Set list, and click OK.
Using toolbars
Many of Adobe Audition’s most commonly used functions are represented as buttons within
toolbars, which appear near the top of the main interface. These buttons give you instant
access to effects, file handling functions, viewing options, and more, at the press of a button.
To see what a button does, hold your mouse pointer over it to display a tool tip that
describes the function in simple terms.
CHAPTER 1
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Looking at the Work Area
To show or hide a toolbar:
Choose View > Toolbars, and choose a toolbar name from the submenu. A check mark
indicates that the toolbar is showing.
To specify how many rows of buttons are displayed:
Choose View > Toolbars, and choose a number of rows from the submenu.
Using windows
Many windows in the Adobe Audition interface can be repositioned and resized to better
suit your requirements. You can also hide windows that you’re not currently using, and
then show them again when needed. For more information on specific windows, see the
index or search Help.
Repositioning and resizing windows
When you reposition a window, you can dock it in a specific location in the interface, or
you can undock the window so that it floats above the main window. To identify docked
windows, look for two thin vertical or horizontal lines. These lines are the handle (or grab
bar) of a docked window. Move your mouse over a handle, and the cursor looks like a plus
sign with arrows at each end .
Some docked windows can also be resized. If resizing is possible, the docked window will
have a single, thicker horizontal or vertical bar, called a resize bar. When you move your
mouse over a resize bar, the cursor takes on the appearance of two lines with two
arrows .
AB
Docked window
A. Handle B. Resize bar
ADOBE AUDITION 1.5
To undock a window:
Drag the window’s handle to the middle of the work area until you see an outline of the
window.
The window is now a standard floating window. You can move the window by dragging its
title bar.
Press Ctrl while moving a floating window around to force it to not dock. That way you
can float the window over an area that it would normally try to dock to. To disable this
feature, select Ctrl Key Allows Dockable Windows to Dock in the General tab of the Settings
dialog box. (See “Setting Adobe Audition preferences” on page 43.)
To dock a window in a different location:
1 Drag the window’s handle around the work area to locate potential docking areas. The
resize bars of other docked windows will light up wherever docking is possible.
2 When you locate the desired docking area, release the mouse button. The window snaps
into its new location.
If a window is docked in the same row with other windows, you can force the window into
a new row by right-clicking the window’s handle and selecting Force New Row. Likewise,
deselecting Force New Row causes the window to dock in the previous row (if there’s room).
User Guide
15
To resize a docked window:
Drag the window’s resize bar.
Even if the resize bar is visible, resizing might not be possible due to the other windows
that are in the row with the window you’re trying to resize.
To reset windows to the default layout, select Restore Default Workspace in the General
tab of the Settings dialog box. (See “Setting Adobe Audition preferences” on page 43.)
Showing and hiding windows
You can free up space in the work area by closing windows when you aren’t using them,
and then redisplay the windows as needed. The Window menu lists all available windows;
a check mark indicates that a window is currently showing.
CHAPTER 1
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Looking at the Work Area
To hide a window:
Do one of the following:
• Choose the window name from the Window menu.
• Click the button that corresponds to the window name in the View toolbar. (See “Using
toolbars” on page 13.)
• For docked windows, right-click the window’s handle and choose Close.
• For undocked windows, click the X button on the window’s title bar.
To show a window:
Choose the window name from the Window menu, or click the window’s button in the
View toolbar.
Using placekeeper windows
Placekeeper windows let you define the aspect ratio of a docking area. For example, if you
try docking the Track EQ controls above the transport controls, they end up going underneath the whole session display, which creates a view that isn’t very useful (or aesthetically
pleasing). You can use a placekeeper, though, on either side of the Track EQ to force the
EQ into a certain aspect ratio. You can also use placekeepers just for appearance’s sake, just
because you like the way they let you customize the work area.
You can create up to four placekeeper windows, and insert them wherever docking is
allowed. You can also change the appearance of placekeeper windows by filling them with
a pattern.
To insert a placekeeper window:
1 Choose Window > Placekeeper.
2 Dock the placekeeper in the desired location. The window is automatically resized to fit
the docked area.
To change the appearance of a placekeeper window:
Right-click the window’s handle, and choose a fill option: Nothing, Cool Texture, or Squares.
To make future placekeeper windows adopt the current appearance, choose Make Default.
ADOBE AUDITION 1.5
To delete a placekeeper window:
Right-click the window’s handle, and choose Close.
Navigating in the display window
The display window shows you the current waveform (in Edit View) or session (in Multitrack View). You can control how much of the waveform or session is displayed by
zooming and scrolling. You can also use the selection and view controls to determine the
beginning time, ending time, and length of audio data in the display window.
Zooming
Zooming lets you adjust the view in the display window to best meet your needs. For
example, you can zoom in to clearly see the samples in a waveform, or you can zoom out
to get a visual overview of a waveform or session.
The Zoom Controls window provides a variety of tools for zooming. You can also zoom
by dragging in the horizontal scroll bar, vertical scroll bar (Multitrack View only), or
vertical ruler.
User Guide
17
Zoom controls
To show or hide the zoom controls:
Do one of the following:
• Choose Window > Zoom Controls. A check mark indicates that the controls are visible.
• Click the Hide/Show Zoom Controls button in the View toolbar. (See “Using
toolbars” on page 13.)
If you don’t like the default location of the zoom controls, you can reposition them or
detach them so they float above the main window. (See “Using windows” on page 14.)
CHAPTER 1
18
Looking at the Work Area
To zoom in or out by using the zoom controls:
Do any of the following:
• Click the Zoom In Horizontally button to zoom in on the center of the visible
waveform window or session.
• Click the Zoom In Vertically button to increase the vertical scale resolution of a
waveform’s amplitude display (in Edit View) or decrease the number of viewed tracks
in the session display (in Multitrack View).
• Click the Zoom To Selection button to zoom in on the actively selected waveform or
session range.
• Click the Zoom In To Right Edge Of Selection button to zoom in on the right
boundary of the actively selected waveform range or session.
• Click the Zoom In To Left Edge Of Selection button to zoom in on the left boundary
of the actively selected waveform range or session.
• Click the Zoom Out Horizontally button to zoom out from the center of the visible
waveform window or session.
• Click the Zoom Out Full Both Axis button to zoom out to display the entire
waveform or blocks that are contained within a session.
• Click the Zoom Out Vertically button to decrease the vertical scale resolution of a
waveform’s amplitude display (in Edit View) or to show more tracks in the session
display (in Multitrack View).
To zoom in or out by using a scroll bar or ruler:
Do either of the following:
• To change the viewable range of time, position the pointer in the timeline or over the
left or right edge of the horizontal scroll bar. Then drag to the left or right. A magnifying
glass with arrows icon appears as you drag.
• To change the viewable range of amplitude (in Edit View) or tracks (in Multitrack
View), hold down the right mouse button in the vertical ruler, and drag up or down.
The magnifying glass with arrows icon appears as you drag.
ADOBE AUDITION 1.5
Yo u can also use the wheel on your mouse to zoom in and out. To do so, place the pointer
over the horizontal scroll bar, timeline, vertical scroll bar (Multitrack View only), or
vertical ruler, and roll the mouse wheel. To set a zoom percentage for the mouse wheel, enter
a value for Zoom Factor in the General tab of the Settings dialog box. (See “Setting Adobe
Audition preferences” on page 43.)
Scrolling
The display window provides several scrolling devices. The horizontal scroll bar—which,
by default, is at the top of the display window—lets you scroll forwards and backwards in
time throughout a waveform (in Edit View) or session (in Multitrack View). The vertical
ruler on the right side of the display window lets you scroll through amplitude ranges (in
Edit View) or tracks (in Multitrack View). In Multitrack View, there’s an additional vertical
scroll bar on the left side of the display window that lets you scroll through tracks.
B
User Guide
19
A
C
Scrolling devices
A. Vertical scroll bar B. Horizontal scroll bar C. Ve rtical ruler
To scroll in the display window:
Do either of the following:
• To scroll to the left or right, drag the horizontal scroll bar. Or, click to the left or right
of the scroll bar to page through the display one screen at a time.
• To scroll up or down, drag in the vertical ruler. In Multitrack View, you can also drag
the vertical scroll bar or click above or below the scroll bar to page through the display
one screen at a time.
CHAPTER 1
20
Looking at the Work Area
Yo u can also use the wheel on your mouse to scroll in the display window. To do so, place
the pointer over the display window, and roll the mouse wheel.
To change the position of the horizontal scroll bar:
Right-click the horizontal scroll bar, and choose a display option: Above Display or Below
Display.
Using the selection and view controls
The Selection/View Controls window shows the beginning and ending points, as well as
the total length of both the selection and the section of the waveform or session that’s
currently visible. Both the selection and display range is shown in the current time-display
format. For information on changing the time-display format, see “Monitoring time” on
page 69.
In addition to viewing time information, you can also use the selection and view controls
to adjust selections and change the section of audio data that is visible in the display
window. Simply enter new values for Begin, End, and Length. After you click in a text box,
you can right-click to access additional context-menu commands.
Selection and view controls
To display the selection and view controls:
Do one of the following:
• Choose Window > Selection/View Controls. A check mark indicates that the window is
showing.
• Click the Hide/Show Selection/View Controls button in the View toolbar. (See
“Using toolbars” on page 13.)
If you don’t like the default location of the selection and view controls, you can reposition
them or detach them so they float above the main window. (See “Using windows” on
page 14.)
ADOBE AUDITION 1.5
Using the status bar
The status bar runs along the very bottom of Adobe Audition’s main window. It can
display information such as sample format, file size, and free disk space.
A B C D E F HG
Status bar
A. Data Under Cursor B. Sample Format C. File Size D. File Size (time) E. Free Space
F. Free Space (time) G. Keyboard Modifiers H. SMPTE Slave Stability
To show or hide the status bar:
Do one of the following:
• Choose View > Status Bar > Show. A check mark indicates that the status bar is visible.
• Click the Hide/Show Status Bar button in the View toolbar. (See “Using toolbars” on
page 13.)
To change the type of information that is displayed in the Status Bar:
Choose View > Status Bar or right-click the Status Bar, and select the desired display
options. Selected items appear in the Status Bar; unselected items are hidden.
User Guide
21
You can choose from the following options:
Data Under Cursor Shows useful information such as the channel (if a current
waveform is stereo), the amplitude (measured in decibels), and the time
(hours:minutes:seconds:hundredths of seconds) from the beginning of the audio file.
This data is computed at the precise point where your mouse pointer is placed within the
wave display, and changes dynamically when you move the pointer. For example, if you see
R: –15.2 dB @ 0:00:242 in the Status Bar when in Edit View, this means that your pointer
is over the right channel at 0.242 seconds into the waveform, and the amplitude at that
precise point is –15.2 dB.
In the Multitrack View, you’ll see even more beneficial data such as Pan and Volume
envelope positions, envelope positions for effects envelopes, dynamic effect settings, and
the current position of the wave block as you drag it around.
Sample Format Displays sample information about the currently opened waveform. For
example, a 44,100 kHz 16-bit stereo file shows up as 44100 – 16-bit – stereo.
CHAPTER 1
22
Looking at the Work Area
File Size) Represents how large the active audio file is, measured in kilobytes. If you see
308 K in the Status Bar, then the current waveform or session is 308 kilobytes (KB) in size.
File Size (time) Shows you the length (measured in time) of the current waveform or
session. For example, 0:01:247 means the waveform or session is 1.247 seconds long.
Free Space In Edit View and Multitrack View, shows how much space is available on your
hard drive. In CD Project View, shows how much space remains on a CD based on which
View menu item is selected: 74 min CD or 80 min CD.
Free Space (time) In Edit View and Multitrack View, displays the amount of available time
left for recording, based upon the currently selected sample rate. This value is shown as
minutes, seconds, and thousandths of seconds. For example, if Adobe Audition is set to
record an 8-bit mono waveform at 11,025 kHz, the time left might read something like
4399:15.527 free. Change the recording options to 16-bit stereo at 44,100 kHz, and the
remaining time value becomes 680:44.736 free.
In CD Project View, shows how much space remains on a CD based on which View menu
item is selected: 74 min CD or 80 min CD.
Keyboard Modifiers Displays the status of your keyboard’s Ctrl, Shift, and Alt keys.
SMPTE Slave Stability Indicates the stability of incoming SMPTE timecode compared to
Adobe Audition’s internal clock. For example, 95.0% SMPTE indicate a very strong
SMPTE signal. Percentages above 80% should be stable enough to maintain sync. For
more information on SMPTE synchronization, see “Setting up for SMPTE synchronization” on page 40 and “Using sessions as SMPTE masters or slaves” on page 166.
Undoing and redoing changes
Adobe Audition keeps track of the edits you perform during the course of an editing session.
These changes are stored in a temporary file on your hard drive. They aren’t permanently
applied to the file until you save and close it, giving you unlimited undo and redo capability.
When you work with very large audio files, you might not have enough free disk space to
save the Undo data before continuing with an edit. In addition, the time required to save
the Undo information might slow down your work. You can solve either problem by
disabling the Undo function.
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