Durin Gleaves
Forum Replies Created
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Hi Graham,
FCXML and OMF treat every audio clip and track as mono, while Audition can support mono, stereo, or 5.1 clips and tracks with any combination of those mixed together. It sounds like you’ve already found the solution – route these tracks to a stereo bus and put effects and automation on the bus. You can also group each pair of clips together which will allow you to perform trims, splits, edits, etc on the clips in unison and maintain sync and sample accuracy while doing so.
In the future, I’d like Audition to be able to recognize these split-out mono entities as a stereo item and group appropriately, but there are some conceptual hurdles and assumptions inherent to these formats to overcome.
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Durin Gleaves
Adobe Audition -
Are you trying to use this command from within the Multitrack editing environment? If so, you would need to perform a Mixdown of your session to a single file, then choose this menu item within the Waveform editor.
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Durin Gleaves
Adobe Audition -
Hi Bob,
I’m not sure why your keyframes would be offset. I haven’t seen any other reports of that behavior, but I’ll spend a bit of time looking into it today.
As for the overall volume drop on mixdown, this is a result of honoring the Panning Law:
https://en.wikipedia.org/wiki/Pan_law
https://www.samplecraze.com/tutorial.php/35/panning-law/By default, Audition reduces the gain for stereo material panned to the center by -3dB. You can override or customize this by going into Preferences > Multitrack and changing the Panning Mode to Left/Right Cut (Logarithmic) or adjusting the dB Center hot-text value.
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Hi Matt,
I can’t say for certain what’s going on without more information, however there is a known issue for some Mac systems where some fonts may cause a problem. You can find a bit more information, and a workaround until the team can deliver an update patch, by visiting:
https://helpx.adobe.com/audition/kb/audition-cs6-crashes-launch.html—
Durin Gleaves
Adobe Audition -
Actually, Ron, I’m very happy I asked. Your response leads me to this conclusion: we’re on the right track with Soundbooth AND Audition.
From the details you give of your workflow and process, Soundbooth is probably not the tool for you. Soundbooth will do all of what you ask, with the exception of a multi-track mixer, and some of the CD ripping and burning tools. But it hasn’t been designed for that workflow, either. It’s purpose is to assist people who primarily work in other applications, but have a need for basic, intuitive audio editing and restoration. In addition to that, it has a powerful “stock” music creation tool that can rearrange, edit, and match music to other media. It has standard effects and processing tools, designed in a way that does not require a degree in Audio Engineering, but that does allow advanced configuration if and when a user desires to get into that.
Audition is, and will continue to be, an application for full-cycle production. From recording to mixing to mastering to production, it’s purpose is very different from Soundbooth. Audition 2.0 has been one of the most successful releases to date, and the features we’ve got in store for Audition 3.0 have me very excited. It’s true that it will remain Windows-only – if that will change in the future, I do not know. There may also come a time when we’ve built Soundbooth up to a point where it meets or surpasses Audition in functionality. We hope to do so, but with a user interface that does not appear so cluttered and intimidating as most high-end audio applications seem to new users. Where Audition puts every parameter and value into its tool interfaces and lets you tinker to find the right setting, Soundbooth was designed to “just work.”
I do hear you on the interoperability between the Video applications – this can always be made better. I know Adobe is continuing to strengthen the link between each of the separate applications, and the long-term goal is to make that link practically invisible. While I don’t know what problem you’re experiencing with Premiere Pro 2.0, the LiveLink features that link it to After Effects and Encore are amazing. No unnecessary rendering, immediate updates, dynamic changes. PPro 2.0 also includes the clip notes feature which I am amazed hasn’t been a standard feature in every application for years, it’s so cool.
So your feedback has absolutely been welcomed. Our applications cannot get better or meet your needs if the teams creating them don’t hear what those are. While all of us on the development teams use these programs every day, we do so from a different perspective. It never hurts to hear from the users who make our tools their careers, no matter if the news is good or bad.
Thanks,
Durin Gleaves, Quality Engineer
Adobe Soundbooth / Adobe Audition -
Audition will work with Mackie consoles, and any consoles that support Mackie Emulation or who have provided driver support in Audition. We made the SDK available to console manufacturers several years ago.
It sounds like you might have the experience to get the most of out Audition, so it may be a better solution overall. Soundbooth is great for quick edits and corrections, but Audition is a powerhouse for complex editing, multitracking, parameter envelopes, etc. But both have interfaces similar to the other Adobe DV applications, and are designed to work well with all of them.
Audition runs great under Parallels – just make sure you’ve got a lot of RAM and you should be impressed with the performance.
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Adobe’s newest audio application is an audio asset editor for video and motion graphics designers, and may do much of what you need. It is not a multi-track production system, or a highly technical sound analysis tool, as Audition is, but instead was designed to offer the power of Audition’s features with a simplified interface. It is chiefly intended to clean up and restore existing audio tracks and sound effects, convert to various file formats, sample rates, bitrates, etc, and add effects.
There are lots of additional features that you may or may not find valuable for your needs – a “smart” automatic music composition tool, marker integration with Flash Video, Pitch and Time correction, Spectral editing, and more.
It’s being written for both Windows and Intel Mac, and is currently in Public Beta over at https://labs.adobe.com/ It’s called Adobe Soundbooth and is developed by the same team responsible for Audition. We’re planning to release another beta version soon, which will likely be the last prior to the final release. I’d be very interested in getting your feedback as to what you like and don’t like, especially as it compares to Audition.
Durin Gleaves
Adobe Audition / Adobe Soundbooth -
Congratulations! Here’s hoping you stumble into an amazing distribution deal.
Durin Gleaves
Adobe Audition -
I responded a few minutes ago to a different thread, but there’s an explanation of what the mixing Panning Law is over at https://www.harmony-central.com/articles/tips/panning_laws/ that can answer some of the more audio-nerd questions about it.
The gist is that hardware mixers used to have linear pan controls so when you were centered, as opposed to panned hard right or left, both channels were at full volume, in effect doubling the amplitude of that track. (A doubling of audio power = +3dB gain.) The Panning Law was devised to reduce the amplitude at center by -3dB to compensate. This became less of an issue with Logarithmic pots and controls, but most audio applications continue to use this because it’s still common on hardware mixers, and there’s a lot of crusty old Audio Engineers who would be shocked, SHOCKED, if it weren’t there.
You found the option to change the behavior, so my work here is DONE!
Durin Gleaves
Adobe Audition -
Hi,
Any chance you can forward the .SES file to sndbugs@adobe.com ? Don’t worry about the WAV files, just the SES session file. You’re getting a pretty specific error message, so we might be able to compare the session file against the code it’s butting up against and determine what’s going on.
Thanks!
Durin Gleaves
Adobe Audition