Features and functions Audition has been a popular professional audio editing application for Windows for years. Like Soundbooth, Audition offers two primary work environments—waveform and multitrack, which you select via menu commands, keyboard shortcuts, or by clicking tabs in the main Audition window. Surrounding the main panel you find smaller tabbed panels for file navigation, markers, effects, and video.
You can call up additional panels for an audio mixer, amplitude statistics, and batch processor from the Window menu. You can undock any panel so that it becomes a separate window. Selection and editing buttons appear at the top of the window and transport controls appear near the bottom. Within each track you find typical controls including volume, panning, mute, and solo. Also, unlike with Soundbooth, Audition allows you to assign markers in Multitrack view.
Choose the Waveform view and selection marquee, lasso, and paintbrush tools and a spot healing tool become available. As with Soundbooth, you can gang together groups of effects into an effects rack, save that rack, and then apply it to other tracks and within other projects. When working in Multitrack view you have access to non-destructive effects.
When you switch to Waveform view you can work with these same effects as well as with destructive effects including DeClicker, DeClipper, Delete Silence, and Stretch and Pitch effects.
You can additionally select a consistent noise something like the constant hum of an air conditioner , sample it, and then ask Audition to remove that noise from the entire clip. Pleased as I was by the quality and number of useful effects included with Audition, I was less happy when I tried to locate some of them. While working through projects I found myself bouncing around from Multitrack to Waveform view, between the Effects Rack and Diagnostics tabs, and then up to the menu bar to ferret out exactly where a particular effect could be found.
As such, I used it to produce a couple of episodes of the Macworld podcast —cleaning and tweaking tracks recorded via Skype, filtering background noise, editing out breathiness from a too-close headset microphone, balancing volume between speakers and within individual tracks, and mixing in music.
The Skype track presented a couple of issues. The first was the typical-for-Skype tinniness of the track. A quick application of EQ settled that. I then had to filter out some background hiss, which I was able to do by sampling that sound and then applying the Noise Reduction effect.
However, with the use of the Hard Limiter effect set at -3db I kept the volume under control. This track also had a lot of breathy noises in sections that should have been silent. One of the trickier parts of mixing a multi-participant podcast is balancing the volume levels between the speakers.
Just drag the files you want to balance to the Match Volume panel, configure the settings you can match to total RMS, loudness, perceived volume, or peak volume as well as impose limiting , and click the Match Volume button. In short order, the volumes of the two tracks are matched.
I just chose my background music tracks and dragged them into the Files window from the Finder. I then dragged them into position. Some people used to this feature may regret its absence but I prefer to draw in my own volume curves, which I could easily do in Audition. On my 2. Audition does that work in a fraction of the time. Also, when applying a processor intensive effect—which, under Soundbooth, would completely tie up the application until the processing was done—you can continue to do other things in your project while Audition renders the effect.
I found that opening a complex Audition project in Adobe Premier Pro can take several minutes, though all the elements eventually make their way to Premiere. Stereo clips and tracks are converted to mono, overlapping clips are combined, no effects and EQ are exported, and you lose all your automation envelopes except clip volume and mono-to-stereo track panning.
Missing While I produced a couple of good-sounding podcasts that could have been more troublesome with GarageBand, there were some features I missed. As I mentioned, it would be nice to have a window that contains frequently used clips—commercials or background music that you use time and again. I also wish that I was able to preview clips within the Files panel.
When you have a couple of dozen clips with names like Bumper01, Bumper02, and Bumper03, it would helpful to be able to quickly preview them in order to tell which is which.
Audition offers no support for enhanced podcasts—podcasts that you add chapters, images, and links to—so I had to take my finished audio work and import it into GarageBand where I could add these elements. I often move between these two views when editing and being able to keep an eye on one view while working in another is useful.
And for them, this version of Audition is likely a dead end as it offers no support for such hardware. Adobe understands that this is a priority so it will undoubtedly come at some time, but for now, no. And audio pros who depend on control surfaces will stick with what they have—perhaps returning to take a look at Audition when it supports their hardware. When you purchase something after clicking links in our articles, we may earn a small commission.
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