1: You can display or hide the groups of buttons in Audition's Toolbars. Workspace Tabs offer access to the Edit view, a Multitrack area, and new CD Burning area. 2: Highlighting a click in the Frequency Space Editor. 3: Version 1.5 adds support for ReWire technology, which allows digital audio to flow between applications. Here, Ableton Live is being mapped to Audition's inputs using ReWire. 4: Although 5.1 mixing is usually a challenge, Audition's Multichannel Encoder makes the job easier.
EM Special Report Making Waves with Adobe Audition 1.5 Great sound, ease of use, and distinctive features make this audio-editing program for Windows a standout. Advertorial by Jon Rose Anyone can learn to use Adobe Audition. It is simpler to use than many other editing programs, and its audio quality is excellent.
Audition's ease of use sometimes obscures the fact that it can also perform very complex audio tasks. Let's take a quick look at Audition's various work areas and discuss some of the tools that can improve your workflow. Audition uses disk-based, background premixing. As a result, with effects 'locked' (essentially, they're premixed on disk), it can run on some underpowered computer systems without dropouts. Using a system that meets Adobe's recommendations of a 2 GHz or better processor and large, fast hard disks offers much better performance. Audition is and has always been an audio editor and provides no MIDI sequencing capabilities. However, its SMPTE/MTC functions are useful if you want to synchronize Audition to analog tape.
New in Version 1.5 Version 1.5 presents several new audio tools, while the user interface remains much the same as in previous versions. The Toolbars (see Fig. 1) aren't completely user-configurable; they are presented as small groups of buttons that you can choose to display or not. But with version 1.5, you can create a number of different Shortcut profiles, which help greatly when more than one user must share a DAW or when one engineer is doing several kinds of audio work. The new version retains the functions of its predecessor and adds some completely new ones. Fixing It In The Mix While experimenting on a live recording, I successfully used the Zoom and Effect Preview functions to isolate and select an area. I easily dealt with some of the clicks and was able to tighten up the low end with a band-limited compressor, which was definitely a time saver.
The Center Channel Extractor receives honorable mention, because you really can use it to increase the vocal area by a couple of decibels in a mix (or reduce the bass, for another example) without having to go back and remix a piece. Let's face it, sometimes you're just stuck with mastering what you've been handed.
However, the Center Channel Extractor tool offers many parameters that are worth experimenting with, and within reason, it can yield highly effective results when reducing or increasing levels of specific audio. The tool is also frequency-based, so it preserves stereo imaging. Pitch Correction has also been added in version 1.5. You have to work at pitch correction with any audio-editing application, and some things just can't be fixed, but you can accomplish quite a bit using either the manual or automatic Pitch Correction. I was pleased to discover that Auto mode actually works for automatic pitch correction in known keys, as long as the singer or instrument isn't too fargone. Still More Good Stuff Audition does not support VSTi and DXi virtual instruments, but it does let you use VST and DX effects plug-ins without a 'wrapper.'
In addition, Adobe has added support for ReWire technology, which allows you to run Audition as a master application and slave ReWire-aware programs like Propellerhead Reason to it in perfect sync (see Fig. Many ReWire-capable host applications support virtual instruments, so you can feed their output into Audition. This will especially appeal to ReWire users who need an audio-editing solution.
Audition boasts many more useful features, some of which open up entirely new ways of using the program. For example, audio for video work is now a much stronger possibility because version 1.5 can open a few more video formats than could previous versions, and it can display multiple video thumbnails in the Multitrack view. The new version also includes a handy CD-Burning work area for one-off burns. You can drag-and-drop any type of supported audio file into the CD Burning track window, and Audition will automatically convert the file to 44.1 kHz, 16-bit stereo, so no separate conversion steps are necessary in order to burn a disc. It does take some time to perform these conversions, but when they are completed, the application can write the files to a Red Book audio CD. I only use looping occasionally, but thanks to Audition's extensive, performance-based loop-content, along with example sessions, looping has proven to be much more attractive.
As a result, I use loops more often in my production work. A Successful Audition Audition scores especially well when it comes to general ease-of-use, great audio, quality effects, and distinctive editing capabilities. Adobe's obvious efforts to streamline the workflow make the program a great value for radio production, post-production, recording, mixing, mastering, and music creation. If you're a Windows user and are looking for a versatile audio editor, check out Audition 1.5.
Jon Rose uses Adobe Audition 1.5 for recording, mixing, and mastering audio in Northwest Oregon.
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The Waves Plugins may be great but to install them you are required to install Waves Central which is very intrusive and can take hours to install and to get it to work. If you ever decide to uninstall Waves Central, forget it, as it is very intrusive and plants files in dozens of directories. Even if you plug ins work from time to time you will see the pop up declaring your license void or missing often. Even after uninstalling it and all the plug ins you will still be haunted by this pop up as Waves Central buries itself into your system. It could and probably should be considered malware.
If you don't believe this review then at least do yourself a favor and demo a plug in from waves before buying because there is no refund on software.
Amazing autotune VST plugin GSnap, by Graham Yeadon, is arguably the best free autotune / vocal harmonizer vst effect there is! It can be used subtly to correct the pitch of a vocal or instrument, or, with more extreme settings, it can be used to create the famous robot-voice effect. The Gsnap auto-tune plugin can switch between automatic mode and manual treatment to correct individual notes that need a bit more work. GSnap requires a monophonic input signal to operate, so remember to add stereo effects after the Gsnap plugin. This free auto-tune vst plugin is simply amazing. If you only want one autotune / pitch correcting vst effect, this is the one you want!
LFO-controlled pich correction plugin Son of a pitch by Saltline is an audio pitch correction VST plugin. The pitch of the incoming signal can be controlled by the pitch knob or by a sync to host LFO.
The pitch knob ranges from +3 octaves to -3 octaves of the original pitch. The voice correction effect also features an LFO controlled filter section.
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There are 3 filters to choose from, 2 SV filters and a butterworth filter. The filter section can be bypassed sending the dry signal straight to the pitch bender.
This is a short guide on how to do mastering using Cool Edit Pro (now called Adobe Audition). Particularly, this is written based on older Adobe Audition 1.5. But I do believe the techniques outlined here can also be applied to later Adobe Audition versions such as Adobe Audition 3.
Mastering is the last stage of the audio production process, next to mixing. So make sure that before you start mastering, your audio wave must pass the following properties: 1.) It is a mix down wave.
This is single waveform, which is summation or the final result of the mixing process. It should only be one waveform but containing all musical instruments mix (vocals, drums, guitars, etc). See examples below. Sample photo of the audio mixdown after mixing process 2.) No EQ and Compression is still applied. It should be completely fresh, the single waveform is still NOT being adjusted with any mastering EQ and compression settings. 3.) The maximum peak of the audio wave (Peak amplitude) should not exceed -3dB.
An allowance is needed for EQ and Compression adjustments in mastering. If the wave is already peaking at the loudest level (0dB), then there is no room for EQ and Compression adjustments. It is a good practice in mixing that the completed mix down should have some headroom for EQ/mastering adjustments.
You can measure the peak amplitude by going to Edit View – Analyze – Statistics. For details, read this tutorial on the required before mastering. Trimming of start and ending.
I give a 0.3 second allowance before the start of the audio wave and 0.6 second allowance at the end of the wave. If the wave exceeds 0.3 second from the moment it started playing, cut it.
Below is the sample screenshot of the trimmed wave at the start (it was exceeding 0.3 seconds before and I cut it to 0.3 seconds standard). Start of the audio wave trimming Step2. EQ stage – The objective of EQ stage is to shape the final sound of the recording, apply presence, boost hi frequencies and lows as well as removing muddiness. Use the Adobe Audition Parametric Equalizer to adjust settings.
You can as well apply EQ plugins like those from Wave. Refer to this following good tutorial on mastering EQ using Audition: Step3. Compression stage – The overall objective of the compression stage is to make the audio wave as loud as possible without creating distortion.
In this case, I am using the for Adobe Audition 1.5: Go to Effects – DirectX – Waves – L2 and adjust the following: Under factory preset change to: Hi Res CD Master then adjusts the following: Threshold: -7.5 Out of Ceiling: 0.2 Click OK, this will maximize the volume of the recording to around -13dB (average RMS power) which is considered OK for master recordings. You can check the loudness in terms of average RMS power by Analyze – Statistics. Fine tune the mastering and use your ear. You can use to remember your settings in the mastering FX chain. Bear in mind that mastering in Adobe Audition is a destructive audio editing process, so make sure you have backup the original mix before you proceed.