Durin Gleaves
Forum Replies Created
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Some quick suggestions:
1. Audition supports both Track and Clip effects, so you can have track-level effects that affect every clip on the track, then clip-specific effects that only apply to the clips they are assigned. While Audition doesn’t support Lift/Stamp between clips, You can easily create a preset for each talent, then apply it to each clip. Of course, this may be easier if each talent is assigned their own track and the effects are track-level. You could then route the output for each VO track to a VO Bus track, and apply any group effects and automation here.
2. The Noise Reduction effect is a destructive effect (changes the physical bits of your audio files) and is not applicable to Multitrack sessions. While you could certainly apply NR to each individual clip, you may want to try the Adaptive Noise Reduction effect, which is real-time complaint, although it may be a bit of a CPU-hog if there are several instances running. If you go this route, I’d suggest enabling the “Track Effects Pre-Render” by toggling the lightning-bolt button in the Effects Rack. This will kick off a background render of the track and will keep this up-to-date when you make any change to the tracks effects or parameters.
3. I’m not sure if Soundtrack Pro’s SFX library is accessible outside STP, but you should be able to bring just about any file format into Audition (or Premiere)
4. You can automate clip effect parameters in a similar method to Track envelopes. At the top-right corner of a clip, you’ll see a drop-down arrow. If you click it, you can select which clip parameter you want to automate via on-clip envelope. If you have added Clip effects, these will be displayed in addition to the standard Volume, Pan, and Rack Power state parameters.
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Durin Gleaves
Adobe Audition -
Hi Margot,
Typically, telephone signals are limited to between 300Hz and 3,400Hz with everything above and below stripped, so it’s unlikely there would be any additional data to capture. The background is rather noisy, and while laptop speakers generally have poor output which masks these sorts of problems, quality headphones will certainly expose any flaws in the recording. I see Joseph recommended a noise reduction pass, and I agree that locating a short region of audio that consists only of noise and no speaking, and capturing this as a noise print to use with the Noise Reduction effect, will go a long way toward making the speech portion of this recording sound better.
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Durin Gleaves
Adobe Audition -
You can also record a series of actions as a Favorite, then apply this favorite during the Batch Process operation. This will allow you to chain multiple effects or edits into one item. From the menu bar, select Favorites > Start Recording Favorite... then perform your desired actions on one file. Select Favorites > Stop Recording Favorite… when done and give it a name. It will be saved into the Favorites list and can be applied manually to other individual files, or from the Batch Processing panel.
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Durin Gleaves
Adobe Audition -
Hi Dominic,
I know this is a bit late, but hopefully it’s helpful information for the future.
OMF format only supports mono clips. In order for Audition-generated OMF files to be compatible with other DAWs and NLEs, stereo tracks must be split into separate mono tracks and clips.
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Durin Gleaves
Adobe Audition -
Hi Jonny,
Which version of Audition are you using? Audition CS5.5 did not have the ability to pull CD track title from FreeDB. This functionality was enabled in Audition CS6.
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Durin Gleaves
Adobe Audition -
SHIFT+Left/Right Arrow creates and adjusts the in-point of a selection while SHIFT+CMD+Left/Right Arrow adjusts the out-point. If no selection exists, you’ll see the behavior you described, but once a selection exists, the distinction between the two may become more obvious.
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Durin Gleaves
Adobe Audition -
Hi Luke,
You’ll want to perform a Mixdown of the Audition session, which will render all effects, automation, crossfades, and other edits to a flat file. In the menu bar select Multitrack > Export to Adobe Premiere Pro… You’ll have the option to send each track or bus as a separate stem, or a single file composed of your entire session. After writing the files to disk, Premiere will open and ask which sequence to insert the Mixdown files.
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Durin Gleaves
Adobe Audition -
Hi James,
Any chance you can post a screenshot of your configuration? When assigning an audio track output to a Bus, the Bus track controls should adjust the relative levels of those inputs. If you created a 5.1 Bus, you should also be able to adjust or automate the surround panner. Feel free to e-mail your .SESX file (not the media – just the session file) to audbugs@adobe.com and I’ll be happy to take a look.
Thanks,
Durin (Product Lead for Adobe Audition)—
Durin Gleaves
Adobe Audition -
Hi Mark,
Audition does not yet offer the ability to conform changes in your NLE timeline to an existing session and the current interchange solution was designed for a post-picture lock environment. We have features in our backlog to address this shortcoming.
If you send stems or a rendered mixdown back to Premiere, you can always right-click on the clip and choose “Edit Original” which will give you the option of opening the Audition multitrack session which created it. You can render and insert a new reference video into the Audition session and make edits, but obviously this is not an ideal workflow.
While we’re discussing this, was there anything about the Final Cut <> SoundTrack Pro conforming functionality that you disliked, or liked very much? When we investigate and begin designing this feature, I’d like to make certain we offer the best experience we can.
Thanks,
Durin—
Durin Gleaves
Adobe Audition -
Hi Kathy,
I just tried to reproduce this issue and did not have any luck. A WAV file with over 200 markers saved and re-opened fine. I didn’t see any missing markers and I’m not aware of any limitation to the marker metadata. Which format are you saving your files?
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Durin Gleaves
Adobe Audition