Macromedia Audition - CS6 User Manual

ADOBE® AUDITION

Help and tutorials

®

What’s new

To learn more, view these recommended resources online.

CD burning and importing

video2brain (May. 7, 2012)

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Produce pro-quality audio CDs with ease.

Hardware controllers and recordable automation

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Mixing made perfect.

Pitch correction

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Intuitive automatic and visual controls.

Session templates tutorial

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Quickly create common multitrack elements

Effects enhancements

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Process audio with a wide range of creative tools.

Multitrack editing enhancements

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Align speech, side-chain effects, and more.

Saving multitrack sessions

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Optimize projects for maximum efficiency.

Waveform editing enhancements

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Improved preview, transport, and marker controls streamline your workflow.

What's new in CS6

Faster, more precise audio editing
Multitrack clip stretching
Automatic speech alignment
Control surface support with parameter automation
Powerful pitch controls
Efficient file management
Expanded audio and video formats
CD burning
More effects, flexible routing, and VST3 support
Integrated radio automation
Improved batch processing
Configurable metronome
Enhanced keyboard shortcuts

Faster, more precise audio editing

Multitrack clip grouping

even stretch them proportionately when clip stretching is enabled. Group stretch, gain, color and other settings are available in the Properties
panel (Window > Properties).

To temporarily edit all grouped clips independently, select Clip > Groups > Suspend Groups. To quickly reapply groups throughout a session,
deselect the Suspend Groups command.

To independently edit one clip in a group, right-click it, and select Remove Focus Clip from Group.

Trim multitrack clips to time selections

or musical elements in a session.

1. Select a time range and one or more clips with the Time Selection tool

2. Choose Clip > Trim to Time Selection.

Multitrack clip spotting

precisely.

Preview edits with Skip Selection

selected audio during playback, letting you accurately preview edits.

Position the playhead prior to the selection to set the default preroll and postroll amount. Audition applies the same setting when you next
preview with Skip Selection.

Multiple clipboards in Waveform Editor

you need to paste specific material that you use repeatedly, it’s readily available.

Select multiple clips, and choose Clip > Groups > Group Clips. You can move and edit grouped clips together, and

The Trim to Time Selection command trims unused portions of clips, helping align them to related video

.

In the Info section of the Properties panel, enter specific clip start and end times for selected clips, placing them

In the transport controls at the bottom of the Editor panel, click the Skip Selection button

Choose Edit > Set Current Clipboard to copy and paste audio from up to five different clipboards. When

Multitrack clip stretching

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to bypass

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Quickly stretch clips to the necessary length, while previewing the results during playback. In the Editor panel, select multiple clips to stretch them
proportionately. In the Properties panel, choose from a variety of stretch types optimized for different audio content.

For detailed information, see Multitrack clip stretching in CS6.

Automatic speech alignment

To quickly align overdubbed dialogue with original production audio, use automatic speech alignment. Audition matches the timing of each word,
even if the original audio is noisy or differs in overall length.

In the Multitrack editor, select two clips containing the same dialog, and of similar length. Then choose Clip > Automatic Speech Alignment.

From the Reference Channel menus, choose channels in which dialogue is most clear. To further improve alignment, trim any leading or trailing
silence from the clips.

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Control surface support with parameter automation

CD Track. See CD burning.

Mix audio interactively with popular control surfaces using the EUCON, Mackie MCU, or Logic Control protocols (including the Avid Artist series
formerly made by Euphonix). Or use third-party, tablet-based controllers that support these protocols. You can even use multiple devices
simultaneously.

To connect your controller to Audition, choose Edit > Preferences > Control Surface. Choose the controller protocol from the Device Class menu.
Then click Configure to specify MIDI ins and outs (for Mackie and Logic controllers), or Button Assignments (for Mackie and Red Rover
controllers).

Audition CS6 supports the full range of automation modes—read, write, latch, and touch—for all track level, pan, and effect parameters. Choose
the automation mode from the menu at the bottom of the track controls in the Editor panel, or above the fader in the Mixer.

For details about each automation mode, see Track automation options.

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Powerful pitch controls

Precisely correct pitch with automatic and manual pitch control, or creatively manipulate audio for innovative sound design.

For the best results, apply pitch correction to individual vocal or instrument tracks.

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Manual Pitch Correction effect (Waveform Editor only)

The Manual Pitch Correction effect lets you visually adjust pitch with the Spectral Pitch Display. The Spectral Pitch Display shows the fundamental
pitch as a bright blue line, and overtones in yellow to red hues. Corrected pitch appears as a bright green line.

Choose Effects > Time and Pitch > Manual Pitch Correction. For detailed instructions, see Manual Pitch Correction effect.

You can visually monitor pitch at any time, without using the Manual Pitch Correction effect. Simply click the Spectral Pitch Display iconin the
options bar.

Automatic Pitch Correction effect

The Automatic Pitch Correction effect is available in both the Waveform and Multitrack editors. In the latter, its parameters can be automated over
time using keyframes and external control surfaces.

Choose Effects > Time and Pitch > Automatic Pitch Correction. For detailed instructions, see Automatic Pitch Correction effect.

Efficient file management

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Media Browser

Choose Window > Media Browser to preview files on your local and networked drives, with helpful file metadata and specifications. At the bottom
of the panel, click the Play button
Match Volume panels, multitrack sessions, or CD layouts.

To bookmark a folder you use often, navigate to it in the Media Browser, and then click the Add Shortcut icon in the upper-right corner of the
panel.

to hear audio, and the Loop Playback button to catch the details. Then drag files directly to the Files or

Files panel

In the Files panel, quickly find files by entering data in the search box such as name, channels, or media type. At the bottom of the panel, click the
Play

and Loop Playback buttons.

To save space in the Media Browser and Files panels, click the panel menu button in the upper-right corner, and deselect Show Preview
Transport. A smaller Play button appears at the top, and Auto-Play and Loop Preview commands remain available in the panel menu.

Markers panel

The Markers panel adds a similar search box and these features:
In the upper-right corner of the panel, click the Show Markers Of All Files icon to view markers across all open files and sessions. Insert

selected marker ranges into multitrack sessions, CD layouts, or playlists using icons at the top of the panel.

Click the Insert Into Multitrack icon
New marker types include:

Subclip for ranges of a file you want Adobe Premiere Pro to display as separate clips in the Project panel.

to either add marker ranges to an existing multitrack session or create an entirely new session.

Cart Timer for radio automation systems. See Integrated radio automation.

Session templates, archives, and mixdowns

Choose File > Export > Session As Template to create multitrack templates that speed up recurring projects requiring similar settings, tasks, and
source files. To apply a template to a new session, choose File > New > Multitrack Session, and then choose a Template option.

To archive whole sessions or move them to other systems along with markers, metadata, and source files, choose File > Export > Session. In the
Export Session dialog box, customize exported source files by selecting Save Copies Of Associated Files, and clicking Options. To change file
format, select Convert Files. To export full or trimmed source files, choose Media Options.

Choose File > Export > Mixdown, and review the Mixdown Options section. Click Change to output tracks as separate files, or simultaneously
output mono, stereo, and 5.1 masters.

Expanded audio and video formats

Import and play HD video in a wide variety of frame rates, including 23.976 and 59.94 drop-frame and 59.94 non-drop-frame. The ruler and other
timecode displays match automatically.

Supported import formats now include FLV, Shockwave, and RED R3D, plus Monkey’s Audio and a range of audio formats provided by the
libsndfile standard.

Export formats also include Monkey's Audio and libsndfile formats, plus FLAC, OGG, and MPEG-1 Audio Layer II (MP2).

Note: To enable some formats, you must select Enable DLMS Format Support in the Media & Disk Cache preferences.

For the complete list of formats and related settings, see Supported import formats and Export format settings.

CD burning

Choose File > New > CD Layout to assemble files you want to burn to Redbook- standard audio CDs. Or add tracks directly from the Files and
Markers panels: right-click, and choose Insert Into CD Layout . (To make this option available for marker ranges, choose CD Track in the Type
column.)

Press Shift + M during playback to quickly mark CD track start and end points. Then select adjoining points in the Markers panel, and click the
Merge Selected Markers icon to create time ranges for each track.

You can assemble multiple CD layout files simultaneously and select between them in the Files panel. In the Properties panel, specify disc
properties like Media Catalog Number (MCN), Title, and Artist.

When you finish laying out a CD, choose File > Export > Burn Audio to CD. (In the Burn Audio dialog box, choose Write Mode > Test to ensure
that data transfer will be quick enough to avoid errors.)

To quickly burn a single file, including track markers, choose File > Export > Burn Audio to CD in the Waveform Editor. (Any track markers
must be time ranges rather than points.)

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More effects, flexible routing, and VST3 support

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Favorite effects

Audition CS6 reintroduces several key effects. From the Effects menu, choose the following:

Generate Tones lets you select a waveform, add harmonics, create a sweep, and adjust phase to create sound design
elements and test tones.

Special > Doppler Shifter (Waveform Editor only) creates the effect of a sound passing by the listener, or even swirling around

them.

Stereo Imagery > Graphic Phase Shifter gives you pinpoint control over phase degree for every part of the frequency

spectrum.

Filter And EQ > Notch Filter lets you tweak specific frequencies for noise reduction, extreme EQ effects, or intense resonance.

Flexible effects routing and side-chaining

Routing enhancements let you assign effect inputs and outputs to specific channels, a particularly flexible technique for 5.1 surround mixes. (For
example, you can apply mono or stereo effects to 5.1 sources.) In the upper-right corner of effects windows, click the Channel Map Editor icon

Side-chaining for compatible plug-ins and the built-in Dynamics Processing effect lets you adjust amplitude based on an external signal. The most
popular technique automatically drops music or background level whenever an announcer speaks:

1. Open a multitrack session.

.

2. On the background track you want to compress, apply the Amplitude And Compression > Dynamics Processing effect.

3. In the Effects Rack , double- click the effect to edit settings.

4. In the upper-right corner of the Dynamics Processing window, click the Set Side -Chain Input icon
configuration for source audio: Mono, Stereo, or 5.1.

5. Navigate to the voice-over track. In the Sends section of the Editor panel, choose Side-Chain > Dynamics Processing
[destination track name].

. Then select the channel

VST3 support and rock-solid stability

Support for VST3 effects opens up a new world of third-party effects. And separate scanning of third-party effects keeps Audition running even if a
plug-in becomes unstable.

Integrated radio automation

Audition CS6 fully integrates with radio automation systems.

1. To visually set AES CART timers in an audio waveform, position the playhead in the Editor panel, and press the C key. (For
quick, general placement of timers, press the C key during playback.)

2. In the Markers panel, click the pop-up menus in the Name column to choose from default Cart codes. (You can type
customized codes for your system, within a four-character limit.)

Note:

Cart systems read only the first eight timers in a file; any later ones are ignored.

Choose Window > Metadata to access these radio-related options:

On the CART tab, quickly edit IDs, out cue phrases, start and end dates, and more. (The same metadata appears in the AES
CART section of the XMP tab.)

On the RIFF tab, choose Show As > Radio Industry to view a streamlined subset of RIFF metadata.

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Improved batch processing

In the Batch Process panel, apply favorites across multiple files at any time, not only at export. To quickly specify common file-naming conventions
when exporting from the Batch Process or Match Volume panels, click Export Settings, and then select Template.

Choose File > Save All Audio as Batch Process to process all open files. For details, see Batch process files.

Configurable metronome

A configurable metronome provides a variety of beat patterns and sounds. Choose Edit > Metronome > Edit Pattern or Change Sound Type.
To enable the metronome, click the metronome icon in the Properties or Editor panels. Adjust volume and pan in the Metronome track that

appears at the top of the Editor panel.
To change tempo and time signature for the current session, adjust settings in the Time Display section of the Properties panel.

For the Metronome track, you can apply effects, assign sends and hardware outputs, and automate the mix just like audio tracks.

Enhanced keyboard shortcuts

Choose Edit > Keyboard Shortcuts, and enter commands in the search box for quick access, or click Copy To Clipboard to print from a text editor.

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What’s new in CS5

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

3.0 features replaced or not implemented in CS5.5.

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 Working with video applications and Export sessions to OMF or Final Cut Pro Interchange format.

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 5.1 surround sound.

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 third-party VST and Audio Units plug-ins. See Applying
effects.

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:

Surround Reverb effect

Vocal Enhancer effect

Speech Volume Leveler effect
Single-band Compressor effect
Diagnostics effects (Waveform Editor only)
DeHummer effect
DeEsser effect

Chorus/Flanger effect
Phaser effect

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.

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.

Multitrack clip volume matching Easily mix audio from diverse sources. See Match multitrack clip volume.
Multitrack audio analysis Analyze phase relationships and frequency response in real-time using the Phase Meter and Frequency Analysis

panel. See Analyze phase and Analyze frequency range.
Simultaneous waveform and spectral views Evaluate audio amplitude and frequency with maximum precision. See View audio waveforms and

spectrums.

Recordable favorites Store combinations of effects, fades, and amplitude adjustments, and quickly reapply them to any file or selection in the
Waveform Editor. See Favorites.

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 Undo, redo, and history.

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Digital audio fundamentals

To learn more, view these recommended resources online.

What is Audition?

video2brain (May. 7, 2012)

video

An introduction to the complete audio editing and mixing solution.

Understanding sound

Sound waves
Waveform measurements
How sound waves interact

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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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.

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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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Digitizing audio

Comparing analog and digital audio
Understanding sample rate
Understanding bit depth
Measuring amplitude in dBFS
Audio file contents and size
How Adobe Audition digitizes 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.

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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:

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, Audition transforms all audio in 32-bit mode and then converts to a specified bit depth when saving files.

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

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Higher bit depths provide greater dynamic range.

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.

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.

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,

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process, and mix it—the possibilities are limited only by your imagination.

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Workspace and setup

Customizing workspaces

About workspaces
Choose a workspace
Dock, group, or float panels
Resize panel groups
Open, close, and scroll to panels
Working with multiple monitors
Display the toolbar
Display the status bar
Change interface colors, brightness, and performance
Save, reset, or delete 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.

In these two tutorials Andrew Devis from Creative Cow shows how to use different workspaces, and how to customize your workspace .

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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.

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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.

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.

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.

.

.

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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 a panel, choose it from the Window menu.
To close a panel or window, press Control-W (Windows) or Command-W (Mac OS), or 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.

Drag horizontal scroll bar to see all panels in narrow group

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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.

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

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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

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.

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.

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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 OK.

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.

More Help topics

Comparing the Waveform and Multitrack editors

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Viewing, zooming, and navigating audio

Comparing the Waveform and Multitrack editors
Zoom audio in the Editor panel
Navigate through time

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; for more information about the Multitrack Editor, see Mixing multitrack
sessions.

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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.

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.)

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

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In either the zoom navigator or the timeline ruler, right -click and drag. The magnifying glass icon
fill the Editor panel.

Zoom into a specific frequency range

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

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

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

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

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.

or Zoom Out button.

, Zoom In At Out Point , or Zoom To Selection buttons.

.

creates a selection showing the range that will

.

Navigate through time

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

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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.)

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 Change the time display format.)

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.

Dock, group, or float panels

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Connecting to audio hardware

Configure audio inputs and outputs
Apply machine-specific hardware settings for network users (Audition CS6)
Assign file channels to inputs and outputs

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.

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.

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.)

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.)

Apply machine-specific hardware settings for network users (Audition CS6)

In network environments, Audition preferences are stored with each user account. For editing, interface, and other preferences, this creates a
customized experience for each user. Audio hardware preferences, however, should typically remain consistent on a given machine, ensuring that
inputs and outputs on the installed audio interface are available in Audition.

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

2. At the bottom of the Audio Hardware settings, select Use Machine- Specific Device Defaults. (Deselect this option only if users
move an assigned audio interface from machine to machine.)

To instead duplicate hardware settings from one machine to others, search for and copy the MachineSpecificSettings.xml file.

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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.

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Customizing and saving application settings

Customize preferences
Restore preferences to default settings
Export and import customized 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.

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.)

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.

More Help topics

Working with markers
Customize the spectral display
Change the time display format
Navigating time and playing audio

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Importing, recording, and playing

Creating and opening files

Create a new, blank audio file
Create a new multitrack session
Open existing audio files and multitrack mixes
Append audio files to another (Audition CS6)
Import a file as raw data
Insert an audio file into a multitrack session
Spot- insert a Broadcast Wave file into a session

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.)

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

Sample Rate

twice that frequency. (See Understanding sample rate.)

Channels

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

Bit Depth

Audition. For compatibility with common applications, however, convert to a lower bit depth when editing is complete. (See
Understanding bit depth and Change the bit depth of a file.)

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

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

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

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:

Template (CS6)

such as Sample Rate and Bit Depth.

Specifies either a default template or one you've created. Session templates specify source files and settings

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Sample Rate

least twice that frequency. (See Understanding sample rate.)

Note:

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.

Bit Depth

Mixdown To New File command. (See Understanding bit depth.)

Note:

32-bit level with fast systems. If your system performs slowly, try a lower bit depth.

Master

sends, and the Master track.)

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

All files added to a session must share the sample rate. If you attempt to import files with different sample rates, Adobe

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

Choose a bit depth carefully, because it cannot be changed after you create a session. Ideally, you should work at the

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

Open existing audio files and multitrack mixes

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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.

Note:

SES session files from Audition 3.0 and earlier are unsupported. If you have Audition 3.0, save sessions to XML format to open them in CS

versions. Note, however, that older effects are excluded in CS6, effects and time-stretching are excluded in CS5.5.

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.)

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

Append audio files to another (Audition CS6)

Append files with CD Track markers to quickly assemble audio and apply consistent processing.

1. In the Waveform Editor, do either of the following:

To add to the active file, choose File > Open Append > To Current.
To add to a new file, choose File > Open Append > To New.

2. In the Open Append dialog box, select one or more files.

If the selected files have a different sample rate, bit depth, or channel type than the open file, Audition converts the

Note:

selected files to match the open file. For the best results, append files with the same sample type as the original file.

3. Click Open.

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

sample rate. 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.

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

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Channels

Encoding

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

Byte Order

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.

Start Byte Offset (CS6)

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 playhead

Enter a number from 1 to 32.

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

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

Specifies the data point in the file at which the import process should begin.

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at the desired time position.