Macromedia Audition - CS5.5 Instruction Manual

Using

ADOBE® AUDITION® CS5.5

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Last updated 11/7/2011

Chapter 1: What’s new

Chapter 2: Digital audio fundamentals

Understanding sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Digitizing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter 3: Workspace and setup

Viewing, zooming, and navigating audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Customizing workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Connecting to audio hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Customizing and saving application settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chapter 4: Importing, recording, and playing audio

Creating and opening files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Importing with the Files panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Supported import formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Extracting audio from CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Navigating time and playing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Recording audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Monitoring recording and playback levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

iii

Chapter 5: Editing audio files

Displaying audio in the Waveform Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Selecting audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Copying, cutting, pasting, and deleting audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Visually fading and changing amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Working with markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Inverting, reversing, and silencing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Analyzing phase, frequency, and amplitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Converting sample types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Undo, redo, and history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Chapter 6: Applying effects

Shared effects controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Applying effects in the Waveform Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Applying effects in the Multitrack Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Adding third-party plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Chapter 7: Effects reference

Amplitude and compression effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Delay and echo effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Diagnostics effects (Waveform Editor only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Filter and equalizer effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Modulation effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

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Contents

Noise reduction / restoration effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Reverb effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Special effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Stereo imagery effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Time and pitch manipulation effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Chapter 8: Mixing multitrack sessions

Multitrack Editor overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Basic track controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Track routing and EQ controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Arranging and editing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Looping clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Clip volume matching, fading, and mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Automating mixes with envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Chapter 9: Video and surround sound

Working with video applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Importing video and working with video clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

5.1 surround sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Chapter 10: Saving and exporting

Saving and exporting files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Viewing and editing XMP metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Chapter 11: Automating common tasks

Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Match volume across multiple files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Batch process files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Chapter 12: Keyboard shortcuts

Finding and customizing shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

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Chapter 1: What’s new

Note: Some features in the Windows version of Adobe Audition 3.0 are not available in CS5.5. Examples include CD burning, MIDI, the metronome, some file formats and effects, clip grouping and time stretching, and control surface support. For a complete list, see

Adobe Audition CS5.5 brings the best features from Adobe audio products into a single cross-platform package, with best-in-class editing and multitrack mixing tools, powerful audio sweetening options, and rock-solid performance.

Mac OS support Make the most of the multicore processing, native audio, and DSP power of Apple Macintosh

computers.

High-performance audio engine Multitask efficiently with dramatically improved responsiveness on projects of all

sizes. Open files up to three times faster. Simultaneously work on multiple multitrack sessions and audio files. Import and batch process files in the background while you continue to edit audio. Speed up effects on multiprocessor systems.

Round-trip editing with video applications like Adobe Premiere Pro Tap into audio cleanup and processing tools

directly from Adobe Premiere Pro with roundtrip editing and mixing. Exchange OMF and XML files with digital audio workstations and non-linear editors like Avid Pro Tools and Apple Final Cut Pro. See

applications” on page 126 and “Export sessions to OMF or Final Cut Pro Interchange format” on page 133.

Adobe Audition 3.0 features replaced or not implemented in CS5.5.

“Working with video

Integrated 5.1 surround mixing and editing Mix 5.1 surround directly in the Multitrack Editor. The Track Panner

panel provides intuitive controls and visual feedback that help you locate sounds precisely in the surround field. Open

5.1 mixdown files in the Waveform Editor to edit selected channels. See

Enhanced effects workflows Adjust effect parameters while making selections, playing back audio, or even applying

complex noise reduction. Apply multitrack effects to individual clips. Expand audio processing possibilities with thirdparty VST and Audio Units plug-ins. See

New effects Adobe Audition CS5.5 includes new effects ranging from Surround Reverb, optimized for 5.1 files, to a

suite of Diagnostics effects that correct common audio problems. For more information, see the following:

“Applying effects” on page 57.

“5.1 surround sound” on page 129.

• “Surround Reverb effect” on page 96

• “Vocal Enhancer effect” on page 100

• “Speech Volume Leveler effect” on page 72

• “Single-band Compressor effect” on page 71

• “Diagnostics effects (Waveform Editor only)” on page 76

• “DeHummer effect” on page 89

• “DeEsser effect” on page 65

• “Chorus/Flanger effect” on page 82

• “Phaser effect” on page 84

Expanded library of royalty-free music beds and sound effects Kick-start your soundtrack with more than 10,000

royalty-free files available through the Resource Central panel. Quickly browse and preview files, then simply drag from the panel to audio projects and produce layered, professional soundtracks.

Streamlined metadata workflow with Broadcast Wave support Simplify metadata editing and management with the

XMP-based Metadata panel. XMP support extends to the Broadcast WAV (BWF) format, enabling automated workflows for radio and TV production systems. See

“Viewing and editing XMP metadata” on page 136.

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What’s new

Native XML session format Save multitrack sessions in the flexible XML format, a human-readable standard that

facilitates conversion to proprietary formats used by different manufacturers. Adobe Audition XML sessions can be opened and edited in text editors, or created programmatically from scripts and other tools. See

“Save multitrack

sessions” on page 133.

Multitrack clip volume matching Easily mix audio from diverse sources. See “Match multitrack clip volume” on

page 119.

Multitrack audio analysis Analyze phase relationships and frequency response in real-time using the Phase Meter and

Frequency Analysis panel. See

Simultaneous waveform and spectral views Evaluate audio amplitude and frequency with maximum precision. See

“Analyze phase” on page 49 and “Analyze frequency range” on page 50.

“View audio waveforms and spectrums” on page 35.

Recordable favorites Store combinations of effects, fades, and amplitude adjustments, and quickly reapply them to

any file or selection in the Waveform Editor. See

History panel Easily roll back edits and mixes to earlier states, comparing different effects processing, noise reduction,

signal flow, and more. Recall your original settings with a single click. See

“Favorites” on page 139.

“Undo, redo, and history” on page 55.

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Chapter 2: Digital audio fundamentals

Understanding sound

Sound waves

Sound starts with vibrations in the air, like those produced by guitar strings, vocal cords, or speaker cones. 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.

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 1000-Hz waveform has

1000 cycles per second.) The higher the frequency, the higher the musical pitch.

Phase Measured in 360 degrees, indicates the position of a waveform in a cycle. Zero degrees is the start point,

followed by 90º at high pressure, 180º at the halfway point, 270º at low pressure, and 360º at the end point.

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.

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Digital audio fundamentals

180º360

270

A single cycle at left; a complete, 20-Hz waveform at right A. Wavelength B. Degree of phase C. Amplitude D. One second

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.

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.

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Digital audio fundamentals

Digitizing audio

Comparing analog and digital audio

In analog and digital audio, sound is transmitted and stored very differently.

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 re-create 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-to-digital 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.

Understanding 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 the original analog waveform. Low sample rates limit the range of frequencies that can be recorded, which can result in a recording that poorly represents the original sound.

Two sample rates A. Low sample rate that distorts the original sound wave. B. 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. For example, CDs have a sample rate of 44,100 samples per second, so they can reproduce frequencies up to 22,050 Hz, which is just beyond the limit of human hearing, 20,000 Hz.

Here are the most common sample rates for digital audio:

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Digital audio fundamentals

Sample rate Quality level Frequency range

11,025 Hz Poor AM radio (low-end multimedia) 0–5,512 Hz

22,050 Hz Near FM radio (high-end multimedia) 0–11,025 Hz

32,000 Hz Better than FM radio (standard broadcast rate) 0–16,000 Hz

44,100 Hz CD 0–22,050 Hz

48,000 Hz Standard DVD 0–24,000 Hz

96,000 Hz Blu-ray DVD 0–48,000 Hz

Understanding bit depth

Bit depth determines dynamic range. 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. For the best audio quality, remain at 32-bit resolution while transforming audio in Audition, and then convert to a lower bit depth for output.

Bit depth Quality level Amplitude values Dynamic range

8-bit Telephony 256 48 dB

16-bit Audio CD 65,536 96 dB

24-bit Audio DVD 16,777,216 144 dB

32-bit Best 4,294,967,296 192 dB

192 dB

144 dB

96 dB

48 dB

0 dB

Higher bit depths provide greater dynamic range.

8-bit

16-bit 24-bit 32-bit

Measuring amplitude in dBFS

In digital audio, amplitude is measured in decibels below full scale, or dBFS. The maximum possible amplitude is 0 dBFS; all amplitudes below that are expressed as negative numbers. As bit depth increases, the amplitude ruler in Audition increases the decibel range below full scale, reflecting greater dynamic range.

Note: A given dBFS value does not directly correspond to the original sound pressure level measured in acoustic dB.

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 44,100 samples per second and 16 bits per sample, a mono file requires 86 KB per second—about 5 MB per minute. That figure doubles to 10 MB per minute for a stereo file, which has two channels.

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How Adobe Audition digitizes audio

When you record audio in Adobe Audition, the sound card starts the recording process and specifies what sample rate and bit depth to use. 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 sum up, 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.

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Viewing, zooming, and navigating audio

Comparing the Waveform and Multitrack editors

Adobe Audition provides different views for editing audio files and creating multitrack mixes. To edit individual files, use the Waveform Editor. To mix multiple files and integrate them with video, use the Multitrack Editor.

The Waveform and Multitrack editors use different editing methods, and each has unique advantages. The Waveform Editor 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. The Multitrack Editor 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 the Waveform Editor. 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 the Waveform Editor, see “Editing audio files” on page 35; for more information about the Multitrack Editor, see “Mixing multitrack sessions” on page 103.

Basic components of the editors

Though available options differ in the Waveform and Multitrack editors, both views share basic components, such as the tool and status bars, and the Editor panel.

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Basic components of Waveform and Multitrack editors (Waveform shown) A. View buttons and toolbar B. Editor panel with zoom navigator at top C. Various other panels D. Status bar

Switch editors

❖ Do one of the following:

• From the View menu, choose Waveform or Multitrack Editor.

• In the toolbar, click the Waveform or Multitrack Editor button.

• In the Multitrack Editor, double-click an audio clip to open it in the Waveform Editor. Alternatively, double-click

a file in the Files panel.

• In the Waveform Editor, choose Edit > Edit Original to open the multitrack session that created a mixdown file.

(This command requires embedded metadata in the file. See

“Embed edit-original data in exported mixdown files”

on page 127.)

Zoom audio in the Editor panel

To zoom into a specific time range, right-click and drag. A. Zoom navigator B. Timeline ruler

Zoom into a specific time range

In either the zoom navigator or the timeline ruler, right-click and drag. The magnifying glass icon creates a selection showing the range that will fill the Editor panel.

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Zoom into a specific frequency range

In the vertical ruler for the spectral display, right-click and drag. (See “View audio waveforms and spectrums” on page 35.)

Extend or shorten the displayed range

Place the pointer over the left or right edge of the highlighted area in the zoom navigator, and then drag the magnifying glass icon

Gradually zoom in or out

In the lower right of the Editor panel, click the Zoom In or Zoom Out button.

You can set the Zoom Factor in the General section of the Preferences dialog box. (See page 19.)

Zoom with the mouse wheel or Mac trackpad

Place the pointer over the zoom navigator or ruler, and either roll the wheel or drag up or down with two fingers. (In the Waveform Editor, this zoom method also works when the pointer is over the waveform.)

Roll or drag over the spectral display, and press Shift to switch between logarithmic and linear frequency scales. (Logarithmic better reflects human hearing; linear makes individual frequencies more visually distinct.)

Magnify selected audio

In the lower right of the Editor panel, click the Zoom In At In Point , Zoom In At Out Point , or Zoom To Selection buttons.

Display the entire audio file or multitrack session

In the lower right of the Editor panel, click the Zoom Out Full button .

To display zoom buttons in a separate panel, choose Window > Zoom.

“Customize preferences

” on

More Help topics

“Keys for playing and zooming audio” on page 143

Navigate through time

At higher zoom levels, you can navigate to different audio content in the Editor panel.

More Help topics

“Monitoring time” on page 27

“Position the current-time indicator” on page 27

“Dock, group, or float panels” on page 12

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Navigate by scrolling

Scrolling with the zoom navigator

• In the zoom navigator, drag left or right.

• To scroll through audio frequencies in the spectral display, drag up or down in the vertical ruler. (See “View audio

waveforms and spectrums” on page 35.)

Navigate with the Selection/View panel

The Selection/View panel shows the start and end of the current selection and view in the Editor panel. The panel displays this information in the current time format, such as Decimal or Bars And Beats. (See

format” on page 29.)

1 To display the Selection/View panel, choose Window > Selection/View Controls.

2 (Optional) Enter new values into the Begin, End, or Duration boxes to change the selection or view.

“Change the time display

Customizing workspaces

About workspaces

Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels (such as Project, Metadata, and Timeline), 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. As you rearrange panels, the other panels resize automatically to fit the window. You can create and save several custom workspaces for different tasks—for example, one for editing and one for previewing.

You can use floating windows to create a workspace more like workspaces in previous versions of Adobe applications, or to place panels on multiple monitors.

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Example workspace A. Application window B. Grouped panels C. Individual panel

Choose a workspace

Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly.

❖ Open the project you want to work on, choose Window > Workspace, and select the desired workspace.

Dock, group, or float panels

You can dock panels together, move them into or out of groups, and undock them so they float 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 zones

Docking zones exist along the edges of a panel, group, or window. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel.

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Dragging panel (A) onto docking zone (B) to dock it (C)

Grouping zones

Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Dropping a panel on a grouping zone stacks it with other panels.

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.

2 Do one of the following:

•

To move an individual panel, drag the gripper area in the upper-left corner of a panel’s tab onto the desired drop zone.

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Drag panel gripper to move one panel

• To move an entire group, drag the group gripper in the upper-right corner onto the desired drop zone.

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 and modify it similarly to the application window. You can use floating windows to use a secondary monitor, or to create workspaces like the workspaces 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.

• Hold down Ctrl (Windows®) or Command (Mac OS®), and drag the panel or group from its current location.

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 taskbar.)

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.

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To quickly maximize a panel beneath the pointer, press the accent key. (Do not press Shift.) Press the accent key again to return the panel to its original size.

1 Do either of the following:

• To resize either horizontally or vertically, position the pointer between two panel groups. 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

2 Hold down the mouse button, and drag to resize the panel groups.

Dragging divider between panel groups to resize them horizontally A. Original group with resize icon B. Resized groups

Open, close, and scroll to panels

When you close a panel group in the application window, the other groups resize to use the newly available space. When you close a floating window, the panels within it close, too.

• To open or close a panel, choose it from the Window menu.

• To close a panel or window, click its Close button .

• To see all the panel tabs in a narrow panel group, drag the horizontal scroll bar.

• To bring a panel to the front of a group of panels, do one of the following:

• Click the tab of the panel you want in front.

• Hover the cursor above the tab area, and turn the mouse scroll wheel. Scrolling brings each panel to the front, one

after another.

• Drag tabs horizontally to change their order.

• To reveal panels hidden in a narrow panel group, drag the scroll bar above the panel group.

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Drag horizontal scroll bar to see all panels in narrow group

Working with multiple monitors

To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on one monitor, and you place floating windows on the second monitor. Monitor configurations are stored in the workspace.

More Help topics

“Dock, group, or float panels” on page 12

Display the toolbar

The toolbar provides quick access to tools, the Workspace menu, and buttons that toggle between the Waveform and Multitrack editors. Some tools are unique to each view. Likewise, some Waveform Editor tools are available only in the spectral display.

By default, the toolbar is docked immediately below the menu bar. However, you can undock the toolbar, converting it to the Tools panel, which you can manipulate like any other panel.

• To show or hide the toolbar, choose Window > Tools. 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.

Available tools differ in each view. A. Waveform Editor tools for spectral display B. Multitrack Editor tools

More Help topics

“Dock, group, or float panels” on page 12

“Comparing the Waveform and Multitrack editors” on page 8

Display the status bar

The status bar runs across the bottom of the Adobe Audition work area. The far left of the status bar indicates the time required to open, save, or process a file, as well as the current transport status (Playing, Recording, or Stopped). The far right of the bar displays various information that you can customize.

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A B C D

E G HF

Status bar A. Time to open, save, or process file B. Video Frame Rate C. File Status D. Sample Type E. Uncompressed Audio Size F. Duration G. Free Space H. Detect Dropped Samples

• To show or hide the status bar, choose View > Status Bar > Show. A check mark indicates that the status bar is

visible.

• To change the information displayed at the far right of the bar, choose View > Status Bar, or right-click the bar.

Then select from the following options:

Video Frame Rate Displays the current and target frame rate of open video files in the Multitrack Editor.

File Status Indicates when processing is occurring for effects and amplitude adjustments.

Sample Type Displays sample information about the currently opened waveform (Waveform Editor) or session file

(Multitrack Editor). For example, a 44,100 Hz, 16-bit stereo file is displayed as 44100 Hz • 16-bit • Stereo.

Uncompressed Audio Size Indicates either how large the active audio file would be if saved to an uncompressed format

such as WAV and AIFF, or the total size of a multitrack session.

Duration Shows you the length of the current waveform or session. For example, 0:01:247 means the waveform or

session is 1.247 seconds long.

Free Space Shows how much space is available on your hard drive.

Free Space (Time) Displays the time remaining 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 8-bit mono audio at 11,025 Hz, the time remaining might read 4399:15.527 free. Change the recording options to 16-bit stereo at 44,100 Hz, and the time remaining becomes 680:44.736 free.

By default, Free Space (Time) information is hidden. To show it, right-click the status bar, and select Free Space (Time) from the pop-up menu.

Detect Dropped Samples Indicates that samples were missing during recording or playback. If this indicator appears,

consider rerecording the file to avoid audible dropouts.

More Help topics

“Basic components of the editors” on page 8

Change interface colors, brightness, and performance

1 Choose Edit > Preferences > Appearance (Windows) or Audition > Preferences > Appearance (Mac OS).

2 Adjust any of the following options, and then click OK:

Presets Applies, saves, or deletes a combination of Colors and Brightness settings.

Colors Click a swatch to change the color of waveforms, selections, or the current-time indicator.

Brightness Brightens or darkens panels, windows, and dialog boxes.

Use Gradients When deselected, removes shadows and highlights from panels, buttons, and meters.

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Save, reset, or delete workspaces

Save a custom workspace

As you customize a workspace, the application tracks your changes, storing the most recent layout. To store a specific layout more permanently, save a custom workspace. Saved custom workspaces appear in the Workspace menu, where you can return to and reset them.

❖ Arrange the frames and panels as desired, and then choose Window > Workspace > New Workspace. Type a name

for the workspace, and click

Note: (After Effects, Premiere Pro, Encore) If a project saved with a custom workspace is opened on another system, the application looks for a workspace with a matching name. If it can’t find a match (or the monitor configuration doesn’t match), it uses the current local workspace.

Reset a workspace

Reset the current workspace to return to its original, saved layout of panels.

❖ Choose Window > Workspace > Reset workspace name.

Delete a workspace

1 Choose Window > Workspace > Delete Workspace.

2 Choose the workspace you want to delete, and then click OK.

Note: You cannot delete the currently active workspace.

OK.

Connecting to audio hardware

You can use a wide range of hardware inputs and outputs with Adobe Audition. Sound card inputs let you bring in audio from sources such as microphones, tape decks, and digital effects units. Sound card outputs let you monitor audio through sources such as speakers and headphones.

A. Sound card inputs connect to sources such as microphones and tape decks. B. Sound card outputs connect to speakers and headphones.

Configure audio inputs and outputs

When you configure inputs and outputs for recording and playback, Adobe Audition can use these kinds of sound card drivers:

• In Windows, ASIO drivers support professional cards and MME drivers typically support standard cards.

• In Mac OS, CoreAudio drivers support both professional and standard cards.

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ASIO and CoreAudio drivers are preferable because they provide better performance and lower latency. You can also monitor audio as you record it and instantly hear volume, pan, and effects changes during playback.

1 Choose Edit > Preferences > Audio Hardware (Windows) or Audition > Preferences > Audio Hardware (Mac OS).

2 From the Device Class menu, choose the driver for the sound card you want to use.

3 Choose a Default Input and Output from the card.

In the Multitrack Editor, you can override the defaults for specific tracks. See “Assign audio inputs and outputs to

tracks” on page 110.

4 (MME and CoreAudio) For Master Clock, choose the input or output to which you want other digital audio

hardware to synchronize (ensuring accurate alignment of samples).

5 For I/O Buffer Size (ASIO and CoreAudio) or Latency (MME), specify the lowest setting possible without audio

dropouts. The ideal setting depends on the speed of your system, so some experimentation may be necessary.

6 Choose a Sample Rate for the audio hardware. (For common rates for different output mediums, see

“Understanding sample rate” on page 5.)

7 (Optional) To optimize the performance of ASIO and CoreAudio cards, click Settings. For more information,

consult the documentation for the sound card.

Note: By default, Adobe Audition controls ASIO sound cards while playing or monitoring audio. If you want to access the card in another application, select Release ASIO Driver In Background. (Audition still controls the card while recording to avoid having recordings suddenly stop.)

Assign file channels to inputs and outputs

1 Choose Edit > Preferences > Audio Channel Mapping (Windows) or Audition > Preferences > Audio Channel

Mapping (Mac OS).

2 To the far right of items in the Input and Output lists, click the triangles to choose a hardware port for each file

channel.

This procedure also sets default outputs for the Master track in the Multitrack Editor. To override the defaults, see “Assign audio inputs and outputs to tracks” on page 110.

More Help topics

“Monitoring 5.1 surround sound” on page 129

Customizing and saving application settings

Customize preferences

The Preferences dialog box lets you customize Adobe Audition’s display, editing behavior, use of hard disk space, and other settings.

❖ Choose Edit > Preferences (Windows) or Audition > Preferences (Mac OS). Then choose the area you want to

customize.

For information about a particular option, hover the mouse over it until a tooltip appears.

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In the Media & Disk Cache preferences, choose your fastest drive for the Primary Temp folder, and a separate drive for the Secondary Temp folder. Select Save Peak Files to store information about how to display WAV files. (Without

peak files, larger WAV files reopen more slowly.)

More Help topics

“Change interface colors, brightness, and performance” on page 17

“Configure audio inputs and outputs” on page 18

“Applying effects” on page 57

“Working with markers” on page 45

“Mixing multitrack sessions” on page 103

“Customize the spectral display” on page 37

“Change the time display format” on page 29

“Navigating time and playing audio” on page 27

Restore preferences to default settings

Unexpected behavior may indicate damaged preferences files. To re-create preferences files, do the following.

❖ Hold down the Shift key, and start Adobe Audition.

Export and import customized application settings

Application settings files store all current preferences, effect settings, and workspaces. Export and import these files to store groups of customized settings for specific workflows, or transfer favorite settings to another machine.

1 Choose File > Export > Application Settings. Then specify a filename and location.

2 To reapply the settings at a later time, choose File > Import > Application Settings.

To import preferences from Audition 2.0 or 3.0, search your system for the audition_settings.xml file. You can import that file into both the Mac and Windows versions of Audition CS.

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Chapter 4: Importing, recording, and playing audio

Creating and opening files

Note: Some features in the Windows version of Adobe Audition 3.0 are not available in CS5.5. Examples include some file formats and effects, CD burning, MIDI, the metronome, clip grouping and time stretching, and control surface support. For a complete list, see

Create a new, blank audio file

New, blank audio files are perfect for recording new audio or combining pasted audio.

1 Choose File > New > Audio File.

To quickly create a file from selected audio in an open file, choose Edit > Copy To New. (See “Copy or cut audio data” on page 42.)

Adobe Audition 3.0 features replaced or not implemented in CS5.5.

2 Enter a filename, and set the following options:

Sample Rate Determines the frequency range of the file. To reproduce a given frequency, the sample rate must be at

least twice that frequency. (See

Channels Determines if the waveform is mono, stereo, 5.1 surround.

For voice-only recordings, the mono option is a good choice that results in quicker processing and smaller files.

Bit Depth Determines the amplitude range of the file. The 32-bit level provides maximum processing flexibility in

Adobe Audition. For compatibility with common applications, however, convert to a lower bit depth when editing is complete. (See

“Understanding bit depth” on page 6 and “Change the bit depth of a file” on page 54.)

“Understanding sample rate” on page 5.)

Create a new multitrack session

Session (*.sesx) files contain no audio data themselves. Instead, they are small XML-based files that point to other audio files on the hard drive. A session file keeps track of which files are a part of the session, where they are inserted, which envelopes and effects are applied, and so on.

To examine settings in detail, SESX files can be opened in text editors or stored in version control systems (such as Perforce, which is popular in the gaming industry).

1 Choose File > New > Multitrack Session.

2 Enter a filename and location, and set the following options:

Sample Rate Determines the frequency range of the session. To reproduce a given frequency, the sample rate must be

at least twice that frequency. (See

“Understanding sample rate” on page 5.)

Note: All files added to a session must share the sample rate. If you attempt to import files with different sample rates, Adobe Audition prompts you to resample them, which may lower audio quality. To change resampling quality, adjust the Sample Rate Conversion settings in the Data preferences.

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Bit Depth Determines the amplitude range of the session, including recordings and files created with the Multitrack >

Mixdown To New File command. (See

“Understanding bit depth” on page 6.)

Important: Choose a bit depth carefully, because it cannot be changed after you create a session. Ideally, you should work at the 32-bit level with CoreAudio and ASIO sound cards, and the 16-bit level with MME cards. If your system performs slowly, try a lower bit depth.

Master Determines whether tracks are mixed down to a mono, stereo, or 5.1 Master track. (See “Routing audio to

buses, sends, and the Master track” on page 110.)

More Help topics

“About multitrack sessions” on page 103

Open existing audio files and multitrack mixes

The following file types open in the Multitrack Editor: Audition Session, Adobe Premiere Pro Sequence XML, Final Cut Pro XML Interchange, and OMF.

All other supported file types open in the Waveform Editor, including the audio portion of video files.

Important: SES session files from previous Audition versions are unsupported. If you have Audition 3.0, save sessions to XML format to open them in CS5.5. Note, however, that effects and time-stretching are excluded.

If you open multiple files, Editor panel menu lets you choose which file to display

1 Choose File > Open.

2 Select an audio or video file. (See “Supported import formats” on page 24.)

If you don’t see the file you want, choose All Supported Media from the menu at the bottom of the dialog box.

Import a file as raw data

If you can’t open a particular file, it may lack necessary header information that describes the sample type. To manually specify this information, import the file as raw data.

1 Choose File > Import > Raw Data.

2 Select the file, and click Open.

3 Set the following options:

Sample Rate Should match the known rate of the file, if possible. For examples of common settings, see

“Understanding sample rate” on page 5. Adobe Audition can import raw data with rates ranging from 1 to 10,000,000 Hz, but playback and recording are supported only between 6000 Hz and 192,000 Hz.

Channels Enter a number from 1 to 32.

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Encoding Specifies the data storage scheme for the file. If you are unsure what encoding the file uses, consult the

supplier of the file, or the documentation for the application that created it. In many cases, trial and error might be necessary.

Byte Order Specifies the numerical sequence for bytes of data. The Little-Endian method is common to WAV files,

while the Big-Endian method is common to AIFF files. The Default Byte Order automatically applies the default for your system processor and is typically the best option.

Insert an audio file into a multitrack session

When you insert an audio file in the Multitrack Editor, the file becomes an audio clip on the selected track. If you insert several files at once, or a single file that’s longer than the space available on the selected track, Adobe Audition inserts new clips on the nearest empty tracks.

1 In the Multitrack Editor, select a track, and then place the current-time indicator at the desired time position.

2 Choose Multitrack > Insert File.

3 Select an audio or video file. (See “Supported import formats” on page 24.)

More Help topics

“Insert a video file into a multitrack session” on page 128

“Importing with the Files panel” on page 23

“Arranging and editing clips” on page 114

Spot-insert a Broadcast Wave file into a session

When you insert a Broadcast Wave (BWF) file into a multitrack session, Adobe Audition can use the embedded timestamp to insert the file at a specific time. This is commonly called spot-inserting.

1 Choose Edit > Preferences > Multitrack (Windows) or Audition > Preferences > Multitrack (Mac OS).

2 Select Use Embedded Timecode When Inserting Clips Into Multitrack.

3 In the Multitrack Editor, select a track.

4 Choose Multitrack > Insert File, and select a BWF file.

Adobe Audition inserts an audio clip at the designated start time.

To view or edit the timestamp for a BWF clip, open the clip in the Waveform Editor, and then choose Window > Metadata. On the BWF tab, the timestamp value appears as the Time Reference.

More Help topics

“Viewing and editing XMP metadata” on page 136

Importing with the Files panel

The Files panel displays a list of open audio and video files for easy access.

Double-click an empty area of the file list to quickly access the Open File dialog box.

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Import files into the Files panel

Import files into the Files panel if you want to retain the currently open file in the Editor panel. This technique is particularly helpful when assembling files for a multitrack session.

1 Do either of the following:

• In the Files panel, click the Import File button .

• Choose File > Import > File.

2 Select an audio or video file. (See “Supported import formats” on page 24.)

Insert from the Files panel into a multitrack session

1 In the Files panel, select the files you want to insert.

To select multiple adjacent files, click the first file in the desired range, and then Shift-click the last. To select nonadjacent files, Ctrl-click (Windows) or Command-click (Mac OS).

2 At the top of the Files panel, click the Insert Into Multitrack button . Then choose either New Multitrack

Session (see “Create a new multitrack session” on page 21) or an open session.

The files are inserted on separate tracks at the current time position.

Change displayed metadata in the Files panel

1 In the upper right of the Files panel, click the menu icon , and choose Metadata Display.

2 Select the metadata you want to display, and click OK

3 To move metadata columns left or right, drag column headers such as Name or Duration.

To change the sort order of files, click column headers.

More Help topics

“Viewing and editing XMP metadata” on page 136

Supported import formats

Audio file formats

Adobe Audition can open audio files in the following formats:

• AAC

• AIF, AIFF, AIFC (including files with up to 32 channels)

There are many different variations of AIFF format. Audition can open all uncompressed AIFF files and most common compressed versions.

Note: To see Author metadata in AIFF files, view the Dublin Core: Creator field on the XMP tab of the Metadata panel. (See

“Viewing and editing XMP metadata” on page 136.)

• AU

• AVR

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• BWF

• CAF

• FLAC

• HTK

• IFF

• M4A

• MAT

• MPC

• mp3 (including mp3-surround files)

• OGA, OGG

• PAF

• PCM

• PVF

• RAW

• RF64

• SD2

• SDS

• SF

• SND

• VOC

• VOX

• W64

• WAV (including files with up to 32 channels)

There are many different variations of WAV format. Adobe Audition can open all uncompressed WAV files and most common compressed versions.

• WVE

• XI

More Help topics

“Saving and exporting files” on page 132

Video file formats

The Waveform Editor lets you open the audio portion of video files in the formats below. The Multitrack Editor lets you insert the same file types and provides a preview in the Video panel.

To access these video formats, QuickTime must be installed. To import additional formats, extend QuickTime support. For more information, see this article on the Apple website.

• AVI

• DV

Last updated 11/7/2011

USING ADOBE AUDITION

Importing, recording, and playing audio

• MOV (including files with up to 32 audio channels)

• MPEG-1

• MPEG-4

• 3GPP and 3GPP2

More Help topics

“Insert a video file into a multitrack session” on page 128

“Export a multitrack mix to Premiere Pro CS5.5” on page 126

“Export sessions to OMF or Final Cut Pro Interchange format” on page 133

Extracting audio from CDs

Extract CD tracks with the Extract Audio From CD command

The Extract Audio From CD command is faster and provides more control, including the ability to optimize drive speed and rename tracks.

1 Place an audio CD in the computer’s CD-ROM drive.

2 Choose File > Extract Audio From CD.

3 For Drive, choose the drive that contains the audio CD.

4 For Speed, choose from all the extraction speeds that the selected drive supports. The Maximum Speed option

usually produces satisfactory results, but if it produces errors, specify a slower speed.

5 Do any of the following:

• To preview a track, click its Play button.

• To include or exclude tracks, click the checkboxes to the left of track numbers, or click Toggle All.

• To rename a track, double-click it.

Extract CD tracks with the Open command (Mac OS)

The Open command lets you extract tracks in AIFF format but requires Audition to continue reading audio data from CD, slowing importing and editing.

1 Place an audio CD in the computer’s CD-ROM drive.

2 Choose File > Open.

3 Choose QuickTime as the file type, and navigate to the CD-ROM drive.

4 Select the tracks you want to extract, and click Open.

Last updated 11/7/2011

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