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ADOBE AUDITION 3 USER GUIDE - PDF Free Download
Next Page. Page 2 The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorpo- rated. Page 3: Table Of Contents Page 4 Chapter 7: Applying effects Shared effects controls Page 5 Chapter Saving and exporting Saving and exporting files Activate the software If you have a single-user retail license for your Adobe software, you will be asked to activate your software; this is a simple, anonymous process that you must complete within 30 days of starting the software.
Page 7: Resources Adobe publishing partners. Extras You have access to a wide variety of resources that help you make the most of your Adobe software.
Some of these resources are installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content disc. Page 8: Adobe Design Center On the installation disc, the Documentation folder contains a PDF version of Help, technical information, and other documents such as reference guides and specialized feature information.
This disc provides thousands of royalty-free loops, plus ready-made music beds and professional sample sessions. Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more.
Page New Features Adobe Labs fosters a collaborative software development process. In this environment, customers quickly become productive with new products and technologies.
Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community. Edit and master Adobe Audition 3. Comprehensive waveform-editing tools combined with innovative spectral frequency brushes let you edit with power and precision.
Visually adjust the stereo field to enhance spatial perception. Page Chapter 2: Digital Audio Fundamentals Chapter 2: Digital audio fundamentals Understanding sound Sound fundamentals 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. 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.
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.
Page 17 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. Page Chapter 3: Workflow And Workspace With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio.
This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows. To create a sonic collage, combine pasted audio from multiple files. Then, select noise or other audio you want to process with effects. When you create a new session, you specify the sample rate for audio clips the session will contain. In Multitrack View, edits are impermanent for maximum flexibility.
But if you want to permanently edit a clip, simply double-click it to enter Edit View. As you build more complex mixes, combine related tracks in buses, and use sends to output individual tracks to multiple destinations.
However, all three views have similar basic components, such as view buttons, the Main panel, and the status bar. Page 25 For example, you can zoom in to see details in an audio file or multitrack session, or you can zoom out to get an overview.
Adobe Audition provides several ways to zoom. You can either click buttons in the Zoom panel, or drag scroll bars and rulers. Click buttons in Zoom panel B. Drag scroll bars C. This sets the position of the scroll bar for only the current view Edit View or Multitrack View.
Page Customizing Workspaces As you rearrange panels, the other panels resize automatically to fit the window. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel.
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. Page 30 When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window. You can use floating windows to make use of a secondary monitor, or to create a workspace like those in earlier versions of Adobe applications.
Do not press Shift. Press the tilde key again to return the panel to its original size. You can show or hide the status bar and select which types of information appear there. Page 33 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, kHz, the time remaining might read Change the recording options to bit stereo at 44, kHz, and the time remaining becomes Page Managing Workspaces Managing workspaces Choose a workspace Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks.
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. 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. Page 37 For more information, consult the documentation for the sound card. If a change requires you to quit and restart Adobe Audition, you are prompted to do so. For example, you need to quit and restart Adobe Audition when you set up a different temporary folder.
Page System Preferences System preferences In the Preferences dialog box, click the System tab to configure how Adobe Audition interacts with your system: Determines the amount of memory that Adobe Audition reserves for processing data. Usually, after you finish with an Adobe Audition session, these clipboard files are no longer needed and just take up space.
Page Display Preferences Specifies the number of vertical bands used in drawing frequencies. The larger this number, the longer Resolution it takes for Adobe Audition to render the spectral display. Performance varies according to the speed of your computer. Page Data Preferences Data preferences In the Preferences dialog box, click the Data tab to control how Adobe Audition handles audio data: Converts all 8-bit and bit data to bit when a file is opened.
When selected, Adobe Audition leaves the effect applied to all data processed up until the point you clicked Cancel. When deselected, Adobe Audition automatically removes the effect on already processed data when you click Cancel. Page 44 Enables smooth scrolling when playing back audio in Multitrack View. This saves on system resources. These devices let you edit audio tracks using real knobs and automated faders, instead of your mouse and computer keyboard. Page Managing Temporary Files Managing temporary files About temporary files When you edit a file, Adobe Audition copies the audio data into a temporary file for internal use.
This process allows for quicker editing, better handling of large files, and the ability to undo changes. This option is useful only if the dialog box automatically appeared because you ran out of storage space. If Adobe Audition crashes, there may be a temp file audxxxx.
The bit level is best while you work Resolution in Adobe Audition. You can convert down for output later, if necessary. Page 49 Shift-click the last.
To select multiple, nonadjacent files, Ctrl-click them. Note: If the selected audio files have a different sample rate, resolution, or channel type than the open audio file, Adobe Audition converts the selected files to match the open file.
For the best results, append files with the same sample type as the original audio file. Page 50 High resolution is recommended if the bitmap image is an exported spectral graph that you modified in an image-editing application such as Adobe Photoshop. Returns all settings to the defaults, which are best for importing to a new file. If you attempt to import files with different sample rates, Adobe Audition prompts you to resample them, which may lower audio quality.
Optional Select Use Default Session to use that session as a template. Page 52 Set or clear a default session After you set a default session, it opens whenever you start Adobe Audition. This default can also serve as a template for new sessions, letting you share settings, such as track inputs and volume levels, across multiple sessions.
Adobe Audition inserts an audio clip at the designated start time. Click the Broadcast Wave tab. Digital extraction also known as ripping is the recommended method because it produces higher-quality audio than internal recording.
Enter your e-mail address. Page 57 The Max Maximum Speed option usually produces satisfactory results, but if it produces errors, specify a slower speed. Specifies how much data Adobe Audition calls into the CD Extraction module to fetch, therefore deter- Buffer Size mining how much data is pulled from the CD in each call to the read command.
The default is 16 KB, but you can experiment with other sizes which range all the way to the highest buffer size the CD-ROM drive supports. Start playing the loudest part of the CD. You set the start-time indicator to start playback or recording at a specific point in a waveform.
Click the Pause button again to resume playback or recording. Pause Places the playback cursor at the beginning of the next marker. If there are Go To Beginning Or Previous Marker no markers, the playback cursor moves to the beginning of the waveform or session.
Enter the starting time and date in the appropriate text boxes, and set the desired time and date options. Page 62 Prior to recording in a session, you must save it so that Adobe Audition can store recorded clips in the session folder.
Page 63 Loop while recording in Multitrack View If you loop while recording, Adobe Audition saves a new clip for each take. This feature is ideal for difficult musical passages. Simply loop while recording until the performer produces the perfect take. Or combine the best parts of each take to create a new clip.
Page 64 For particularly important or difficult sections, you can punch in multiple takes, and then select or edit takes to create the best performance. Adobe Audition saves two seconds of audio on either side of a punch-in range, so you can seamlessly edit and crossfade takes. Note: You can't punch into a loop-enabled clip.
Page Playing Audio Note: By default, the Main panel scrolls in sync with playback that extends beyond the visible section of a waveform. In the General tab of the Preferences dialog box, you can customize auto-scrolling options or disable this feature. Click OK. Yellow peak indicators remain for 1. Page 69 You may need to adjust levels if recordings are too quiet causing unwanted noise , too loud leading to clipped, distorted sound , or inaudible when played in Adobe Audition.
To get the best sounding results, you should record audio as loud as possible without clipping. Try to keep the loudest peak somewhere between —2 dB and 0 dB when setting recording levels. Each shows you a different visual representation of sound waves. If you open a stereo file, the left channel appears at the top and the right channel appears at the bottom. If you open a mono file, its single channel fills the total height of the Main panel. For example, if you see a lot of inverse phase information in the Phase Analysis panel, you can use Spectral Phase Display to find out exactly where in time the out-of-phase audio is occurring.
To delete a color point, right-click it and choose Delete Color Point. Page 76 At the top of the Main panel, time displays show how much audio is visible for the top and tail. By default, Adobe Audition displays 10 seconds in both views. Page 78 By default, Adobe Audition plays all audio in the same time range as a spectral selection. To hear only the selection, right-click the standard or circled Play button, and select Play Spectral Selection.
Specify which channel you want to edit By default, Adobe Audition applies selections and edits to both channels of a stereo waveform.
However, you can easily select and edit just the left or right channel of a stereo waveform. Page 80 Though you can often identify beats by looking for peaks in a waveform, the Find Beats command makes the task much quicker.
After you find beats with this command, Adobe Audition saves them as Beat Markers, making it easy to locate beats again. Page Copying, Cutting, Pasting, And Deleting Audio Copying, cutting, pasting, and deleting audio Choose a clipboard Adobe Audition gives you access to five internal clipboards for temporary data storage. Each works similarly to the Windows clipboard, except that they can handle more data at a faster rate.
Page 82 The Mix Paste command lets you mix audio data from the clipboard or a file with the current waveform. Page Visually Fading And Changing Amplitude Delete or trim audio data Adobe Audition provides two methods for deleting audio: The Delete Selection command lets you remove a range from a waveform, whereas the Trim command lets you remove unwanted audio from both sides of the selected audio.
If this fade sounds too abrupt, however, try one of the other options. A point refers to a specific time position within a waveform for instance, A range has both a start time and an end time for example, all of the waveform from Page 86 Marker types Adobe Audition provides five marker types.
All five can be ranges as well as points. You can change marker types by clicking Edit Marker Info in the Markers panel and choosing a marker type from the Type menu. Alternatively, right-click the marker handle, and choose a marker type from the context menu. In the For More Than text box, enter the duration in milliseconds of this maximum amplitude value. Page 90 Enter a longer duration to ignore short periods of undesired audio like clicks, static, or other noise.
However, if the value is too high above milliseconds , short words may be skipped. Scans the waveform or a selected range to have Adobe Audition automatically determine a good Find Levels starting point for signal levels. Higher values can lead to an artificial sounding pause. Previews the silence to be removed.
This option reports how much silence will be removed Scan For Silence Now and how many sections of silence were found. Page Generating Audio Specifies the length that is assigned to the pause character when it is used in the Dial String text box. Pause Time Specifies which character Adobe Audition interprets as a pause. Page 94 Each color has its own characteristics.
Generating noise is useful for creating soothing sounds like waterfalls perfect for use with the Binaural Auto-Panner function of Adobe Audition and for generating signals that can be used to check out the frequency response of a speaker, microphone, or other audio system component.
For example, you can apply DC Offset to correct an incoming signal that has suffered electrical pollution from a strong adjacent current. If you select a range, Adobe Audition analyzes the center point of the range. Page 99 In the Main panel, click a point, select a range, or start playback. If you select a range, Adobe Audition analyzes only the center point. To analyze the overall frequency of a selected range, click Scan Selection in the Frequency Analysis panel.
Page You can generate a step-by-step animation by clicking the Main panel and then holding down the Right Arrow key. As the cursor scrolls across the across the waveform, Adobe Audition displays the corresponding spectral infor- mation in the Frequency Analysis panel. In Edit View, select an audio range. Page Specifies the number of milliseconds in each RMS window. To achieve the most accurate RMS values, use wide windows for audio with a wide dynamic range, and narrow windows for audio with a narrow dynamic range.
Page Converting Sample Types Enter a sample rate in the text box, or choose a common sample rate from the list. Note: Although you can work with any sample rate in Adobe Audition, your sound card may not be capable of playing all rates properly.
To determine supported sample rates, consult the documentation for the card. Page Select a bit depth from the Resolution list, or enter a custom bit depth in the text box. When you select a lower bit depth, Adobe Audition provides dithering options to help reduce noise and distortion.
Set the following options as desired, and click OK: Although dithering introduces a small amount of white noise, the result is far preferable to the increased distortion that you would otherwise hear at low signal levels. Usually, Triangular p. These changes are stored in a temporary file on your hard drive. In both racks, you can insert, edit, and reorder up to 16 effects, optimize mix levels, and store favorite presets.
Each track has its own Effects Rack, which is saved with the session. Dock the Effects Rack to quickly view and edit effect settings for multiple tracks. Page To modify an existing preset, apply it, adjust settings as desired, and then save a new preset with the same name. Control effects settings with graphs Many Adobe Audition effects provide graphs where you can adjust parameters. By adding and moving control points on the graph, you can precisely tailor effect settings.
When the pointer is over a control point, the pointer changes from an arrow to a hand. You can change the grouping of effects to best meet your needs. To readapt a session for different projects, for example, simply reopen it and change effects to create new sonic textures. Be aware that enabling large numbers of plug-ins can cause Adobe Audition to start slowly. Select the plug-ins you want to access in Adobe Audition, and then click OK. Though you can select VST instru- ments here, they are unsupported for audio processing.
Applies a logarithmic-style fade also known as a power fade. If you select this option, You can choose Compress, Flat, or Expand for up to six sections or stages, each with its own ratio and threshold setting. For example, to create a compressor above dB, choose Compress, and then specify a ratio and a threshold of dB.
Use the Envelope effect to make tones generated with Adobe Audition sound more realistic. This effect is particularly useful for increasing perceived volume because you can amplify audio beyond the digital maximum, 0 dbFS, and you can lower areas that would otherwise be clipped.
Frequency bands B. Crossover markers C. Bypassed band no processing applied D. Amplitude scale E. Possible values range from to 0 dB. The best Threshold sliders setting depends on audio content and musical style. To compress only extreme peaks and retain more dynamic range, try thresholds around 5 dB below the peak input level; If desired, you can apply that command to only one file. Page Delay And Echo Effects When reverb or chorus might muddy the mix, both delays and echoes are a great way to add ambience to a track.
To access familiar options from hardware delays, use the Echo effect in Adobe Audition. Page 35 milliseconds or more create discrete echoes, while those between milliseconds can create a simple chorus or flanging effect. Original and Delayed Inverts the delayed signal, causing the waves to cancel out periodically, instead of reinforcing the signal. Page The number of echoes is adjustable up to , Keep in mind that the more echoes you include, the more time Adobe Audition needs to process the effect.
Page The distance between the source and the walls affects which frequencies are enhanced and is crucial to the overall ambient effect.
If you enter a value that exceeds the dimensions of the room, Adobe Audition uses the greatest possible value based on the dimensions. It is then mixed into Delay Offset an earlier point in the delay line, which causes echoing.
However, you can create interesting effects by entering positive values. Boosting a Low Cut Filter while reducing the feedback setting is identical to reducing a High Cut Filter and increasing the feedback setting. Adjusts the amount of amplitude or attenuation the Dynamic EQ effect uses.
A larger number low factor causes the filter settings to change roughly or in chunks from initial to final, while smaller numbers higher factor make the transition much smoother. Compensates for an overall volume level that is too soft or too loud after the EQ settings are adjusted.
Master Gain The default value of 0 dB represents no master gain adjustment. Set the cutoff frequency with High Shelf Cutoff and Level the second slider below the graph, and increase or decrease treble with the slider at the right of the graph. Use the High Shelf Cutoff to reduce hiss, amplifier noise, and the like.
If this option is deselected, you can specify separate initial and final equalization settings, so that the selection can smoothly glide from the initial equalization setting to the final setting over the selected range.
Click the Initial Settings and Final Settings tabs to specify initial and final settings. Page Modulation Effects You can also use it to create some truly out-of-this-world special effects. Adobe Audition uses a direct-simulation method of achieving a chorus effect, making each voice or layer sound distinct from the original by slightly varying timing, intonation, and vibrato. The Feedback setting lets you add extra detail to the result.
High values cause the separate voices to start at different times—the higher the value, the farther apart the onset of each voice may be. It was originally achieved by sending an identical audio signal to two reel-to-reel tape recorders, and then pressing the flange of one reel to slow it down. First, use Spectral Frequency Display to visually identify and select ranges of noise or individual artifacts.
Values between 6 and 30 dB work well. To reduce bubbly Reduce Noise By background effects, enter lower values. Page Use Effect Presets Detection graph ruler x-axis and threshold level along the vertical ruler y-axis. Adobe Audition uses values on the curve to the right above dB or so when processing louder audio and values on the left when processing softer audio.
Curves are color-coded to indicate detection and rejection. 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 Hz waveform has cycles per second. The higher the frequency, the higher the musical pitch. Phase Measured in degrees, indicates the position of a waveform in a cycle. 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. Wavelength B. Degree of phase C. Amplitude D. One second D 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 together.
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. 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 recreate 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-todigital 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. 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 theoriginalanalogwaveform. A B Two sample rates A.
Low sample rate that distorts the original sound wave. 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. See Nyquist frequency on page For example, CDs have a sample rate of 44, samples per second, so they can reproduce frequencies up to 22, Hz, which is beyond the limit of human hearing, 20, Hz.
Here are the most common sample rates for digital audio:. 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: Bit depth Quality level Amplitude values Dynamic range 8-bit Telephony db bit CD 65, db bit DVD 16,, db bit Best 4,,, db db db 96 db 48 db 0 db 8-bit bit bit bit Higher bit depths provide greater dynamic range.
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, samples per second and 16 bits per sample, a file requires 86 KB per second about 5 MB per minute. That figure doubles to 10 MB per minute for a stereo CD, which has two channels.
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 summarize, 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.
In Multitrack View, you layer multiple audio files, mixing them together to create sophisticated musical compositions and video soundtracks. With the integrated environment of Adobe Audition, you can move seamlessly between these views, simultaneously editing and mixing files to create polished, professional audio. This integrated environment extends to Adobe video applications, where you can easily incorporate Adobe Audition into comprehensive video-editing workflows.
Edit audio 3. Apply effects 4. Save changes In Edit View, you edit, restore, and enhance individual audio files, such as voiceovers, old vinyl recordings, and more. Any saved changes are permanent, making Edit View a great choice for mastering and finalizing files. See Editing audio files on page Open or create a file Open an existing audio file that you want to modify.
Alternatively, create a blank file that you ll record or paste audio into. See Opening audio files in Edit View on page To create a sonic collage, combine pasted audio from multiple files. Then, select noise or other audio you want to process with effects. See Selecting audio on page In the rack, you can edit and reorder effects until you achieve the perfect results. See Applying effects in Edit View on page See Saving and exporting files on page and Building audio CDs.
Saving a file to disk Multitrack workflow Open session 2. Insert or record files 3. Arrange clips 4. Apply effects 5. Mix tracks 6. Export In Multitrack View, you layer multiple audio files to create stereo or surround-sound mixes. The edits and effects you apply aren t permanent; if a mix doesn t sound good next week, or even next year, simply change mix settings. See About multitrack sessions on page When you create a new session, you specify the sample rate for audio clips the session will contain.
See Opening and adding to sessions in Multitrack View on page To build a particularly flexible session, insert audio loops you can choose from over on the Adobe Audition Loopology DVD. See Insert an audio file into a session on page 47 and Record audio clips in Multitrack View on page Inserting from the Files panel. In Multitrack View, edits are impermanent for maximum flexibility.
But if you want to permanently edit a clip, simply double-click it to enter Edit View. See Arranging clips on page and Editing clips on page Arranging and editing clips in the Main panel Apply effects Apply effects in the Effects Rack, where you can edit, group, and reorder effects on each track.
At any future time, you can update or remove effects to address the needs of different audio projects. See Applying effects in Multitrack View on page Applying effects in the Effects Rack. As you build more complex mixes, combine related tracks in buses, and use sends to output individual tracks to multiple destinations.
Then automate effect and mix settings over time, creating a dynamic, evolving mix that highlights different musical passages.
See Track routing and EQ controls on page and Automating track settings on page Routing and mixing tracks in the Mixer Export Export your finished mix to a file, which you can automatically insert in Edit View for mastering or CD View for archiving and distributing.
See Export a session to an audio file on page and Building audio CDs. However, all three views have similar basic components, such as view buttons, the Main panel, and the status bar. View buttons B. Menu bar C. Toolbar D. Shortcut bar E. Main panel F. Various other panels G. Status bar G. To edit individual files, use Edit View. Edit View and Multitrack View use different editing methods, and each has unique advantages. Edit View 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. Multitrack View 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 Edit View. Likewise, if an edited waveform contains recent changes that you dislike, use the Undo command to revert to previous states destructive edits aren t applied until you save a file.
For more information about Edit View, see Editing audio files on page 65; for more information about Multitrack View, see Mixing multitrack sessions. In Multitrack View, double-click an audio clip to open it in Edit View. Alternatively, double-click a file in the Files panel. Or, select an audio clip in either the Files panel or the Main panel, and then click the Edit File button in the Files panel. Comparing Edit View and Multitrack View on page 20 Keys for opening views on page Zooming audio Zooming adjusts the view of the timeline display in the Main panel.
The ideal zoom level depends on your current task. For example, you can zoom in to see details in an audio file or multitrack session, or you can zoom out to get an overview. YoucaneitherclickbuttonsintheZoompanel,ordragscrollbars and rulers. Click buttons in Zoom panel B. Drag scroll bars C. Click the Zoom In Horizontally button to zoom in on the center of the visible waveform or session.
Click the Zoom To Selection button to zoom in on the currently selected range. Click the Zoom Out Horizontally button to zoom out from the center of the visible waveform or session. Zoom with a scroll bar or ruler In the Main panel, do any of the following Move the pointer to either edge of a horizontal or vertical scroll bar.
When the pointer becomes a magnifying glass with arrows, drag left or right, or up or down. Right-click and drag in the horizontal ruler to zoom into a specific time range. The magnifying glass icon appears, creating a selection that shows you the range that will fill the Main panel. Edit View only Right-click and drag in the vertical ruler to zoom into a specific amplitude range.
The magnifying glass icon appears, creating a selection of the range that will fill the Main panel. To zoom with the mouse wheel, place the pointer over the appropriate scroll bar or ruler, and roll the wheel.
In Edit View, this zoom method also works when the pointer is over the waveform. You can set the percentage of this zoom on the General tab of the Preferences dialog box. See General preferences on page Navigate with a scroll bar or ruler At higher zoom levels, you may need to scroll to see different audio content in the Main panel. This sets the position of the scroll bar for only the current view Edit View or Multitrack View. Horizontal scroll bar B. Vertical scroll bar Multitrack View only C.
Vertical ruler Edit View only D. Horizontal ruler To scroll through time, drag the horizontal scroll bar, or drag left or right in the horizontal ruler. To scroll through audio amplitudes in Edit View, drag up or down in the vertical ruler. To scroll through tracks in Multitrack View, drag the vertical scroll bar. To scroll through tracks with the mouse wheel, place the pointer over the track display, and roll the wheel. The panel displays this information in the current time format, such as Decimal or Bars And Beats.
See To change the time display format on page Monitoring time during recording and playback on page 54 Dock, group, or float panels on page Although each application has its own set of panels such as Tools, Properties, Timeline, and so on , 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. You can create and save several custom workspaces for different tasks for example, one for editing and one for previewing.
You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window. As you rearrange panels, the other panels resize automatically to fit the window.
YoucanusefloatingwindowstocreateaworkspacemorelikethoseinpreviousversionsofAdobeapplications,orto place panels on multiple monitors. B C A Example workspace A. Application window B. Grouped panels C.
Individual panel For a video about the Adobe workspace, see Dock, group, or float panels You can dock panels together, move panels into or out of a group, and undock a panel so that it floats in a new window 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 a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel. Groupingapanelstacksit with other panels. A B C 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.
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 or otherwise modify it, as you do the application window.
You can use floating windows to make use of a secondary monitor, or to create a workspace like those 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.
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 task bar. 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.
Do not press Shift. Press the tilde key again to return the panel to its original size. 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. A B Dragging divider between panel groups to resize them horizontally A. Original group with resize icon B. Resized groups Open and close panels and windows Even if a panel is open, it may be out of sight, beneath other panels.
Choosing a panel from the Window menu opens it and brings it to the front. Whenyoucloseapanelgroupintheapplicationwindow,theothergroupsresizetomakeuseofthenewlyavailable space.
When you close a floating window, the panels within it close, too. To open or close a panel, choose the panel from the Window menu. To close a panel or window, click its Close button. Working with multiple monitors To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on the main monitor, and you place floating windows on the second monitor.
Monitor configurations are stored in the workspace. Dock, group, or float panels on page Some tools are unique to each view. Likewise, some Edit View tools are available only in spectral displays. However,youcanundockthetoolbar,converting it to the Tools panel, which you can manipulate like any other panel. 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. A B Available toolbar buttons differ in each view. Multitrack View toolbar Dock, group, or float panels on page 23 Basic components of Edit, Multitrack, and CD View on page 19 Display the shortcut bar Theshortcutbardisplaysbuttonsthatprovidequickaccesstocommonlyusedfunctions.
Theshortcutbarappears in the upper part of the application window, below the menu bar and the default location of the toolbar. To identify a button, place the pointer over the button until a tool tip appears. You can show or hide the status bar and select which types of information appear there.
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