You can make precise and snappy dynamic adjustments, noise reduction, volume changes and the like - then export your audio and drop into your favorite video editor. Fingers crossed for the day you can overwrite the audio directly into a video file - Come on, Adobe!
Make this happen! The FX rack system in Audition is streamlined to allow you to quickly batch process files. You can leave an FX rack up while you swap media in and out, or use it to work on a single file and then batch process a bunch. You may not know this, but Adobe Audition is a fully featured Multitrack Audio editor! Soundtrack may have gone by the wayside when Logic Pro became popular, but I find that for video projects I often prefer a multitrack audio editor that is less instrument focused and more audio workflow focused!
You can absolutely deal with multiple voice tracks, SFX, voice over, background audio, and more all in Audition. You can zoom in, make a precise selection, and then simply adjust the gain with the floating gain control without having to enter a keyboard shortcut, guess at the level as you adjust the knob you can see the waveform rise or shrink in size compared to the surrounding audio and it all happens without even the need for a keyboard shortcut!
More articles by this author. Matt Vanacoro is one of New York's premier musicans. Read More. Add to this, video, hundreds of tracks, complex bussing and surround outputs, and a CPU really has to chunk the data fast. We want to be able to have our DAW be able to efficiently access all the horsepower of our computer so that we can focus on mixing and processing quality audio — instead of dealing with computer issues.
Speed Up Audition now! And the quickest way to lug down Audition or any program is to force it to read from a drive. Kill your RAID. Even with modern caching, no drive cache is optimized for this kind of brutality.
Use RAIDs for video. Not for audio. For just about everything anyway. All drives need to have direct access to the CPU. Euthanize your old drives. You will see all the files being exported to your external drive folder. Then just close the Adobe project. Click no on any other prompts you get. If you copy a session onto a new machine or other internal drive, you or the person opening the session will get messages from Adobe looking for specific files.
Just point it back into the new session folder, find the file in question and open it. Use D to setup your favorite dynamics. F for your filter. A real time saver! Really, the one thing that I do to really speed up this is nothing new BTW imaging VO and production is I've created a template session for each station that I do imaging for. You can add all of the processing from the multitrack screen for each track where your VO, beds, SFX go and then export the session as a template.
That way, the particular "sound" you have for one station or the other stays consistent each time you voice and do production. And then all you have to do next time you open up AA to do imaging for whatever station you're working on is pick that particular template you've set up for that station and BOOM!
It's also much easier to have the processing added all at once in multitrack as opposed to manually adding each layer of processing in the edit screen. It really speeds up the process of imaging production and ensures you get the "sound" you're after each and every time. Jeffrey Smith , www. I mapped my INS keyboard button just above my DEL button so that it inserts silence with just one key stroke to the highlighted area you are working on. Great for quickly removing breaths.
I can now edit one handed if I like :. Randy Spicer , audiotheater. With practice it becomes easy to find lip smacks and other noises that can ruin an otherwise perfect take.
This is also a great way to rid a bad track of unnecessary breaths or room noise as well. Additionally, spectral view can be used to spot problem frequencies. Sibilance shows up in the 5K to 12k area as bright yellow-orange. By using this screen in conjunction with your EQ, you can pinpoint EQ issues with much greater accuracy. It's worth noting that many producers commonly use pre-sets for most of their productions, but it's been my experience that frequency problems are not consistent.
They tend to shift from project to project, thus whenever your ears detect a problem Also, even if you use a standard chain for your mic that may or may not include a multi-band compressor, or a parametric EQ it doesn't hurt to add a 30 channel EQ strip to the back end of that chain and start with all faders set to zero.
When you identify the problem frequencies, you can then go into this 30 channel strip and pull the problem frequency down into the negative digits.
It's amazing how just a few dB can really impact your sound. You'll notice that by default the track is always in READ mode. While you won't use this trick a lot, it's great to know how to use it when needed.
In short In other words, as the editor is playing back a piece, you can be adjusting knobs on a particular plug-in, and while you're doing so, the system will memorize those adjustments as they happen in the timeline. As always, if you're unhappy with the experiment, a quick UNDO, and you can try again. In Adobe 3. Your audio blocks can now be stretched to match BPM's for easy beatimixing promos, etc.
The easiest way to do it is find your base drum beat you want to lie under different song clips. Make a split after a 4 beat count. Do the same on one of your song clips. Now, just line up the first beat of each clip and grab the bottom right corner of whichever clip you want to adjust and drag it until your clips are the same length. Repeat this process for the remaining samples you want to include. The cool thing is when you adjust the length, Adobe re-tempos the entire song file, so once you've adjusted a 4 count beat, you can go grab any parts of the song and it will match.
Pretty cool. This helps me clean up audio faster than looking for the mute from the drop menu. These two keys help me edit my audio faster. In some of the more hard sell spots, inverting the stereo phase to place the voice on each side instead of center can be effective, but if you use the Stereo Imagery tools, you run the risk that you may produce a near total cancelling of the audio when it goes through the on-air processing where phase shifts can cause unexpected results.
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