[Durin Gleaves]

Hi Tim,

I know this reply is a bit late, but is this still a problem? There are two reasons I can think of this behavior might occur. The first would be a very high audio buffer size and the other would be a high latency effect such as Full Reverb being used on the track. Do you experience this only while scrubbing, or do you notice it during real-time playback as well?

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

Hi Matt,

Thanks for the questions – these are excellent suggestions, and I’ll make sure the development team is aware of them.

The most straightforward method of finding out where Audition thinks an asset is supposed to be is by opening the .SESX file in a text editor. It’s an XML format, so it’s pretty readable. The file locations are near the bottom of the file, and you’ll see both an absolute path (eg. C:\My Files\Media\MyFile.wav) and a path relative to where the session file was saved (eg. ..\..\Media\MyFile.wav)

One tip to minimize this problem would be to use File > Export > Session… and toggle “Save Copies of Associated Files.” This will create a new folder on disk with your session file and create a copy of all media used so that Audition is not trying to locate it scattered around your hard drives or network shares.

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

It sounds like the bass frequencies are simply too low to be reproduced on the small speakers. Increasing the volume of the bassline, esepcially if it already sounds good on a better sound system, would only serve to cause distortion and would still be unlikely to help the laptop sound situation.

One possibility might be to mirror the bassline, but pitch shift it upwards a few steps so that it sits in a frequency spectrum better supported by those speakers. One way to accomplish this would be to open the audio file in Waveform view and use the Edit > Frequency Band Splitter tool to break out the low frequencies into their own file. I’d probably draw out from 0Hz-120Hz. Then use Effects > Time and Pitch > Pitch Shifter to increase the pitch a few steps. I would start with 5 which should create a nice harmony, or 12 which would raise the pitch one octave. Be sure to select High Precision mode.

Then, insert your original audio file and the pitch shifted bassline into a new multitrack session with each clip on a separate track. You can adjust the level of each track until it sounds better on the low-quality speakers. (Be sure to listen on good speakers as well, so you don’t overdo it for those folks with quality sound.) Once satisfied, mix it down to a new file and replace the music clip in your video project.

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

Hi Tim,

Looks like that’s happening in an NVIDIA OpenGL driver. If it’s new behavior, it likely started happening around the time of a video driver update. I would first check with Nvidia to see if there’s a new version available, and see if that resolves the problem.

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

Hi Richard,

I’ve made the CS6 documentation PDF available for download at
https://forums.adobe.com/servlet/JiveServlet/downloadBody/4696-102-1-6281/Adobe_Audition_CS6_reference.pdf

This and manuals for other versions are available in the Documents tab on the Adobe Audition User Forum: https://forums.adobe.com/community/audition/content

I verified both of your reports. Clips that are render-and-replaced when sent from Premiere to Audition do appear to be converted to 32-bit float format. While this is generally the default format used in Audition for best results, I can certainly understand the desire to keep files consistent. As a workaround for now, you could convert to 16-bit before saving the file. I’ll need to do a little more research to properly confirm the second issue, but it does appear that embedded timecode may be reset on files that undergo the render-and-replace operation, such as when sent to Audition.

I’ll dig into these a little bit further today and report them to the Premiere team. Thank you.

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

EBU/ITU R128 support was implemented in Audition CS6. The Match Volume panel can be used to ensure your content meets the level requirements.

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

There’s isn’t yet a quick method of relinking a clip to a new audio file. Fastest workaround that I can recommend right now is to close the session, then rename or delete the scratch track. Next time you open the session, Audition will ask you to select a file to replace the missing one. Choose your final audio and save the session.

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

Resource Central was removed from Audition CS6, but the content is all available for download. You can get there by clicking Help > Download Sound Effects and more… or by visiting https://www.adobe.com/cfusion/entitlement/index.cfm?e=auditionloopology

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

Hi Jason,

Microphones are generally mono devices, so recording to or creating a “stereo” file simply duplicates the content on both channels and wastes disk space as well as limits how you can mix and pan that file if you choose to use it in a multitrack session. (Mono files can be truly panned to any point in the stereo field while stereo files can only be balanced.)

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Durin Gleaves
Adobe Audition

[Durin Gleaves]

By default, the Multitrack signal chain adopts a -3dB dip in the center of a stereo mix due to Pan Law. You can find out more about Pan Law at https://en.wikipedia.org/wiki/Pan_law but in essence, it ensures a consistent level as a signal pans from left-to-right, or vice versa. Otherwise, when a signal is panned toward the center, it will grow louder.

You can disable this behavior by opening Preferences > Multitrack and changing the “Panning Mode” preference to Left/Right Cut (Logarithmic) or adjust the level as desired.

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Durin Gleaves
Adobe Audition