Adobe Community : All Content - Audition FAQ (frequently asked questions)

AMTObtainRunningLicenseRecord Error

forums_noreply@adobe.com — Wed, 08 Oct 2014 03:23:54 GMT

If you are here, there looks to be a problem with your installation.

Please try installing through the Creative Cloud desktop application again. For more information, please see: http://helpx.adobe.com/audition/kb/audition-cs5-5-licensing-error.html

Download Link for Audition CS6

forums_noreply@adobe.com — Thu, 11 Sep 2014 15:20:32 GMT

New Macbook or Surface Pro didn't come with a CD drive?

Audition CS6 users who need a downloadable installer link can find it at Download CS6 products

Audition 3 and the activation service

forums_noreply@adobe.com — Tue, 01 Jan 2013 11:53:16 GMT

I haven't experienced this for myself, but apparently as of December 13th 2012 the activation service for Audition 3 and some other products has been disabled because of a security issue. So if you need to uninstall and reinstall Audition 3 you will have to follow the instructions on this page. If there are any other issues with this, please post comments on the appropriate forum.

Audition won't play or record. Why? What do I do?

forums_noreply@adobe.com — Fri, 31 Jan 2014 17:09:52 GMT

In other words, you can open a file, but the Transport controls don't do anything. This applies to all versions of Audition...

Pretty much invariably when this happens, it's because Audition has become disconnected from your sound device, either external or internal. So the first thing you have to do is go to the Preferences page, select Hardware Setup, and make sure that it's selected there. Close the page, and then try again.

If, by any minute chance this doesn't fix the problem, then ask on the forum for more help, and make sure that you tell us specifically about your particular machine and how it's configured. But, this really is one of those 'one-solution-only' problems, as a rule.

Purchase link - Audition CS6

forums_noreply@adobe.com — Wed, 24 Jul 2013 09:08:58 GMT

At present (July 2013), it's still possible to purchase Audition CS6, although finding it isn't that easy...

UK: Purchase Audition CS6

US: Purchase Audition CS6

FAQ: Where can I find PDFs of the Creative Suite Help documentation, including Audition CS5.5 and 6?

forums_noreply@adobe.com — Thu, 07 Mar 2013 22:41:03 GMT

Searching the Help documentation for Audition is much easier in PDF format. It's also useful to have a PDF of the Help in case you don't have access to the internet. Here is the link:

http://blogs.adobe.com/premierepro/2010/08/help-documents-for-creative-suite-5-pdf-and-htm l.html

Restoring the default settings for Audition CS6

forums_noreply@adobe.com — Tue, 09 Oct 2012 21:03:49 GMT

Fortunately you don't have to uninstall and reinstall Audition to do this - although that's certainly an option. Bear in mind that doing this will only work if you choose to delete your preferences as part of the process.

There are several other options though, and I suggest reading through all of them before deciding which to use. We'll start, though, with the other simple one. If you start Audition with the 'shift' key held down, this will achieve the same result - the preference files won't be read, and the default (aka 'vanilla') ones will be reinstated. Certainly with a Mac (and probably a PC as well) you have to hold the 'shift' key down at least until the splash screen appears, otherwise it might not work.

From here on, it gets a little more complicated, but you get more options. The reason for this is that in order to get at the individual preference files, we have to consider three different operating systems, XP, Windows 7, and OS X. By default, in all of them, the location of these files is hidden, and you have to reveal it. When you have done this, the path and files will be revealed.

Revealing hidden folders:

XP: In a folder, go to Tools>Folder Options>View and scroll down to the hidden folders entry. Select the 'Show' option. The path to the Preferences folder is C:\Documents and Settings\[user_name]\Application Data\Adobe\Audition\5.0

Windows 7: In a folder, go to Organise>Folders and Search Options>View, and then it's the same as XP. The path to the Preferences folder is c:\Users\[username]\AppData\Roaming\Adobe\Audition\5.0

Mac OX: The Preferences are in a library folder, and are apparently stored twice. The locations of them are:

/Users/[User_Name]/Library/Preferences/Adobe/Audition/5.0/

/Users/[User_Name]/Library/Preferences/com.Adobe.Audition.5.0.plist

There is a note about this at the end of this FAQ*.

Anyway, there are, apparently, several ways to unhide them:

1. The easiest way to get there without opening Terminal is to open Finder or click on your desktop, click Go in the menu bar, then hold down the OPTION/ALT key. You should see Library appear in the menu as long as your holding that key and clicking the menu item will bring it up in Finder.

2. Use Command+Shift+G from the Mac desktop (or Finder>Go>Go to Folder) and type in ~/Library to temporarily access the Library directory. When you have finished manipulating the relevant parts of it, close this window and the folder will no longer be visible.

3. To make the Library folder visible permanently (like in OS 10.6 and earlier), open the Terminal application and use the following command: chflags nohidden ~/Library/

What do you have to do when you've revealed the folder?

The basic idea is that if Audition opens, and it doesn't find a particular file in the preferences folder, it recreates it. So, you can either delete all the files in it (the same as Shift+open), or you can be more selective. Primarily there are three .xml files that you are interested in, and if you are only having a problem with one of them, then that's the only one you need to delete.

Application Settings - deleting this will restore most of the settings in the program itself back to defaults

Effect Presets - deleting this will restore default settings, but if you have made any of your own presets, you will lose these too.

Favorites - the same as Effect Presets, only for the Favorites list.

There is also an .xml file for Machine-specific settings, but this only affects your sound device, and generally would be rewritten anyway if anything changed, so generally doesn't need to be touched. Mainly it's the three I mention above that are the ones you will be interested in.

* A note from Durin about the Mac preferences files:

"The directory path, ~/Library/Preferences/Adobe/Audition/5.0/ is where we store all the preferences, presets, workspaces, log files, etc. Anything and everything a user may need access to. The .plist file is more of an application/OS level preferences - similar to an ini or registry entry in that it's less user-facing and more preferences for how the application works with the OS. In Audition's case, this stores information such as the last directory accessed, File Open/Save dialog dimensions, and other mysterious prefs that are just random GUIDs that Audition and OS X understand.

In either case, if the directory or .plist is missing, it will be rebuilt on launch to the first-launch defaults."

.pk and .pkf files (aka peak files) - What are they?

forums_noreply@adobe.com — Sat, 28 May 2011 21:13:39 GMT

Peak files - ones with .pk and .pkf extensions - are files that Audition creates upon first opening an audio file, and they contain information about the way it's displayed on the screen. After you've worked on a file, saving the peak data as well as the file means that the next time Audition opens it, it can do so a lot faster - simply because it doesn't have to create all that visual data again.

By default, Audition saves peak files automatically for wav files, but it can't create them for other types. The reason for this is that it doesn't need them for those file types, as they can't be opened natively in Audition anyway; they have to be decoded into wav files first.

The difference between older .pk files and newer .pkf files (the ones that Audition CS5.5 uses) is that the .pkf ones contain Floating Point data. This means that unlike .pk files, they can display information about files where the signal exceeds 0dB. This means that if you do a mixdown where the levels are rather hot, you can display the levels correctly in Edit View by zooming the vertical display out. If you replay the file at this level though, it will distort, so you still have to normalize your resulting file so that the peaks don't exceed 0dB before making, say, a CD from it, a 16-bit integer copy, or any sort of compressed file.

Because of this fundamental difference though, .pk files and .pkf files aren't interchangable. So a .pkf file created with Audition CS5.5 won't work with any previous version. What will happen if you open one of these files in, say Audition 3 is that a new .pk file will be created, and stored alongside the .pkf one. And similarly, a .pk file from a previous version will be ignored if an older file is opened in Audition CS5.5 - it will create a new .pkf file for it.

Both .pk and .pkf files are normally hidden file types, so you won't see them in your files folder unless you've set it to display hidden files. It doesn't matter in the slightest if one gets deleted accidentally - which ever version of Audition you are using will recreate the appropriate one automatically. The only difference you will notice is that it takes longer to open the file. Not much of a problem with a very short one, but if your file is an hour long, the difference is significant.

Setting the Sample Rate in Windows Vista and 7

forums_noreply@adobe.com — Fri, 09 Mar 2012 13:51:41 GMT

This is an extract from a thread about setting up sound devices - specifically it relates to Vista, but in general it applies to all current Windows OS's.

Its originator is Adobe's _durin_

You'll need to make sure that the sample rate for your input and output channels of your device match.

1. Right-click on the speaker icon in the lower-right corner of your desktop and choose Recording Devices

2. Right-click the Microphone (or desired input channel for the device) and choose Properties

3. Click the Advanced tab and verify or change the Default Format option

4. Click OK then click the Playback tab. Right-click on your default or desired output channel and choose Properties

5. Make sure the Default Format option matches what you selected for your recording channel. (You'll notice in this screenshot, my playback device is configured for 48,000Hz while my microphone was configured for 44,100Hz. These need to match.)

6. In Audition, create a new session. For best results, ensure your session sample rate matches the sample rates you selected for your decices. Audition will attempt to convert the sample rate of your recording on-the-fly to match the session sample rate, but it's always recommended to work at a single, consistent sample rate to ensure no change to the audio signal takes place.

Bob Howes added the following information to Durin's setup procedure that is Vista-specific:

The only thing to add is that you may have to do this again for future sessions--one of the pains of Vista is that it allows other software to grab the sound settings and adjust them--so if, for example, you've just watched a Youtube video with 48kHz audio, but want to record at 44.1, Windows may have left the settings at the last ones used.

steps to troubleshoot and get past common problems with Audition

forums_noreply@adobe.com — Mon, 13 Feb 2012 20:54:39 GMT

When you encounter a problem with Audition, the following steps are often useful for getting past the problem and/or determining the cause of the problem:

1. Hold down SHIFT while you launch Audition

This overrides the preference files and launches Audition using the default settings.

2. Manually rename or delete the preferences folder

Step 1 only overrides certain preference files, while others such as Workspace preference files, may be the cause of the problem. Depending on your OS, locate the "5.0" folder in the location below and rename it or delete it.

Windows XP: C:\Document and Settings\<username>\Application Data\Adobe\Audition\5.0\

Windows Vista/7: C:\Users\<username>\AppData\Roaming\Adobe\Audition\5.0\ *

Mac OS X: ~\Library\Preferences\Adobe\Audition\5.0\ **

* "AppData" may be a hidden folder. You can type it into the location bar, or enable "Show Hidden Files" in Windows.

** This is your user-level Library folder, not the system-level tree.

3. Check your Audition Log.txt file

To enable a log file with CS 5.5, you must create an empty file in your preferences folder called "Audition Log.txt" using notepad, text edit, or any other editor. After you create this file, launch Audition and if it fails, open and/or share the log file for more specific information about what's happening.

4. Check the Operating System console or error log

Both OS X and Windows can track application errors, and if the problem is occurring outside of the application code - a driver conflict, for example - then the OS error report may be more informative than what we can get from the application.

OS X: launch /Applications/Utilities/Console.app Clear the view, then launch Audition and note any error messages that appear.

Windows: launch Control Panel > Administrative Tools > Event Viewer > Windows Logs > Application then launch Audition and note any error messages that appear.

5. Re-install Audition

If at this point, nothing has resolved the issue or the error logs are inconclusive, it's a good time to uninstall Audition, reboot, and reinstall Audition.

6. Obtain the full crash dump and send it to the Adobe team

So you've walked through all the above steps, you've disconnected any external hardware interfaces to rule out any device or driver conflicts, and you've exhausted the basic troubleshooting steps. Visit http://forums.adobe.com/thread/900619 and follow the steps for your OS that Charles has documented to best obtain a full crash memory dump for Audition, and send that to audbugs@adobe.com with a description of the problem and the steps you've taken, and we'll take a look.

Audition Crashed. Now what?

forums_noreply@adobe.com — Thu, 08 Sep 2011 23:29:51 GMT

Supply General Information about the Crash

What were you doing when it crashed?
What have you done since you last launched the application?
If it crashes with a plug-in or a file, supply information about the plug-in or file.
Has anyone else experienced the crash? Anyone else on the forums, or perhaps a friend that also owns Audition?
Was there an error message? Post a screenshot.

Supply Information about your System

Mac OS X	Windows
Go to "About This Mac" Press [ More Info... ] to launch the System Profiler	Go to the Start Menu > (All) Programs > Accessories > System Tools > System Information
Save the profile to a file.	Save the System Information to a file.

Mac OS X

Windows

Go to "About This Mac"

Press [ More Info... ] to launch the System Profiler

Go to the Start Menu > (All) Programs > Accessories > System Tools > System Information

Save the profile to a file.

Save the System Information to a file.

Supply Information about the Crash

Mac OS X	Windows
Copy the text from the OSX Crash Log, supply this information with any crash report.	When the application has crashed, before doing anything else, you'll want to create and supply a crash dump. (See next post)
Go ahead and still submit the crash report through the OSX crash reporter as well as the Adobe Crash Reporter Tool. Be sure to supply comments that answer the questions mentioned above.	Go ahead and still submit the crash report through the Windows Error Reporter.

Mac OS X

Windows

Copy the text from the OSX Crash Log, supply this information with any crash report.

When the application has crashed, before doing anything else, you'll want to create and supply a crash dump. (See next post)

Go ahead and still submit the crash report through the OSX crash reporter as well as the Adobe Crash Reporter Tool. Be sure to supply comments that answer the questions mentioned above.

Go ahead and still submit the crash report through the Windows Error Reporter.

On Audition CS5.5 I want to be able to monitor my mix in Mono. How do I do that?

forums_noreply@adobe.com — Wed, 21 Sep 2011 10:05:14 GMT

Fortunately there's a simple way to configure the Mixer's Output section to do this:

What you do (and you can configure this however you want) is to open an instance of the channel mixer in the Master section's FX. If you want mono from both speakers, you have to modify the preset that says 'Downmix to 1/0 (Mono)' so that what happens on the L channel (70.71% = -3dB) happens on the R channel as well. Then save a new preset called 'Downmix to 1/1 (Glorious Mono)'.

How you use this is delightfully simple - just toggle the power switch on the effect! When active, it's mono, when you turn it off it's stereo again. It works pretty much in real time, and obviously you can hack it around if you want so it's both channels to L or R, rather than both.

Incidentally, the expression 'Glorious Mono' is what the BBC has always referred to it as when it comes from more than one loudspeaker.

Audition 3.0.1 features replaced or not implemented in CS5.5

forums_noreply@adobe.com — Wed, 20 Jul 2011 21:58:42 GMT

The list of features affected can be viewed here.

A quick primer on audio drivers, devices, and latency

forums_noreply@adobe.com — Fri, 10 Jun 2011 22:34:27 GMT

This information has come from Durin, Adobe staffer:

Hi everyone,

A common question that comes up in these forums over and over has to do with recording latency, audio drivers, and device formats. I'm going to provide a brief overview of the different types of devices, how they interface with the computer and Audition, and steps to maximize performance and minimize the latency inherent in computer audio.

First, a few definitions:

Monitoring: listening to existing audio while simultaneously recording new audio.

Sample: The value of each individual bit of audio digitized by the audio device. Typically, the audio device measures the incoming signal 44,100 or 48,000 times every second.

Buffer Size: The "bucket" where samples are placed before being passed to the destination. An audio application will collect a buffers-worth of samples before feeding it to the audio device for playback. An audio device will collect a buffers-worth of samples before feeding it to the audio device when recording. Buffers are typically measured in Samples (command values being 64, 128, 512, 1024, 2048...) or milliseconds which is simply a calculation based on the device sample rate and buffer size.

Latency: The time span that occurs between providing an input signal into an audio device (through a microphone, keyboard, guitar input, etc) and when each buffers-worth of that signal is provided to the audio application. It also refers to the other direction, where the output audio signal is sent from the audio application to the audio device for playback. When recording while monitoring, the overall perceived latency can often be double the device buffer size.

ASIO, MME, CoreAudio: These are audio driver models, which simply specify the manner in which an audio application and audio device communicate. Apple Mac systems use CoreAudio almost exclusively which provides for low buffer sizes and the ability to mix and match different devices (called an Aggregate Device.) MME and ASIO are mostly Windows-exclusive driver models, and provide different methods of communicating between application and device. MME drivers allow the operating system itself to act as a go-between and are generally slower as they rely upon higher buffer sizes and have to pass through multiple processes on the computer before being sent to the audio device. ASIO drivers provide an audio application direct communication with the hardware, bypassing the operating system. This allows for much lower latency while being limited in an applications ability to access multiple devices simultaneously, or share a device channel with another application.

Dropouts: Missing audio data as a result of being unable to process an audio stream fast enough to keep up with the buffer size. Generally, dropouts occur when an audio application cannot process effects and mix tracks together quickly enough to fill the device buffer, or when the audio device is trying to send audio data to the application more quickly than it can handle it. (Remember when Lucy and Ethel were working at the chocolate factory and the machine sped up to the point where they were dropping chocolates all over the place? Pretend the chocolates were samples, Lucy and Ethel were the audio application, and the chocolate machine is the audio device/driver, and you'll have a pretty good visualization of how this works.)

Typically, latency is not a problem if you're simply playing back existing audio (you might experience a very slight delay between pressing PLAY and when audio is heard through your speakers) or recording to disk without monitoring existing audio tracks since precise timing is not crucial in these conditions. However, when trying to play along with a drum track, or sing a harmony to an existing track, or overdub narration to a video, latency becomes a factor since our ears are far more sensitive to timing issues than our other senses. If a bass guitar track is not precisely aligned with the drums, it quickly sounds sloppy. Therefore, we need to attempt to reduce latency as much as possible for these situations. If we simply set our Buffer Size parameter as low as it will go, we're likely to experience dropouts - especially if we have some tracks configured with audio effects which require additional processing and contribute their own latency to the chain. Dropouts are annoying but not destructive during playback, but if dropouts occur on the recording stream, it means you're losing data and your recording will never sound right - the data is simply lost. Obviously, this is not good.

Latency under 40ms is generally considered within the range of reasonable for recording. Some folks can hear even this and it affects their ability to play, but most people find this unnoticeable or tolerable. We can calculate our approximate desired buffer size with this formula:

(Sample per second / 1000) * Desired Latency

So, if we are recording at 44,100 Hz and we are aiming for 20ms latency: 44100 / 1000 * 20 = 882 samples. Most audio devices do not allow arbitrary buffer sizes but offer an array of choices, so we would select the closest option. The device I'm using right now offers 512 and 1024 samples as the closest available buffer sizes, so I would select 512 first and see how this performs. If my session has a lot of tracks and/or several effects, I might need to bump this up to 1024 if I experience dropouts.

Now that we hopefully have a pretty firm understanding of what constitutes latency and under what circumstances it is undesirable, let's take a look at how we can reduce it for our needs. You may find that you continue to experience dropouts at a buffer size of 1024 but that raising it to larger options introduces too much latency for your needs. So we need to determine what we can do to reduce our overhead in order to have quality playback and recording at this buffer size.

Effects: A common cause of playback latency is the use of effects. As your audio stream passes through an effect, it takes time for the computer to perform the calculations to modify that signal. Each effect in a chain introduces its own amount of latency before the chunk of audio even reaches the point where the audio application passes it to the audio device and starts to fill up the buffer. Audition and other DAWs attempt to address this through "latency compensation" routines which introduce a bit more latency when you first press play as they process several seconds of audio ahead of time before beginning to stream those chunks to the audio driver. In some cases, however, the effects may be so intensive that the CPU simply isn't processing the math fast enough. With Audition, you can "freeze" or pre-render these tracks by clicking the small lightning bolt button visible in the Effects Rack with that track selected. This performs a background render of that track, which automatically updates if you make any changes to the track or effect parameters, so that instead of calculating all those changes on-the-fly, it simply needs to stream back a plain old audio file which requires much fewer system resources. You may also choose to disable certain effects, or temporarily replace them with alternatives which may not sound exactly like what you want for your final mix, but which adequately simulate the desired effect for the purpose of recording. (You might replace the CPU-intensive Full Reverb effect with the lightweight Studio Reverb effect, for example. Full Reverb effect is mathematically far more accurate and realistic, but Studio Reverb can provide that quick "body" you might want when monitoring vocals, for example.) You can also just disable the effects for a track or clip while recording, and turn them on later.

Device and Driver Options: Different devices may have wildly different performance at the same buffer size and with the same session. Audio devices designed primarily for gaming are less likely to perform well at low buffer sizes as those designed for music production, for example. Even if the hardware performs the same, the driver mode may be a source of latency. ASIO is almost always faster than MME, though many device manufacturers do not supply an ASIO driver. The use of third-party, device-agnostic drivers, such as ASIO4ALL (www.asio4all.com) allow you to wrap an MME-only device inside a faux-ASIO shell. The audio application believes it's speaking to an ASIO driver, and ASIO4ALL has been streamlined to work more quickly with the MME device, or even to allow you to use different inputs and outputs on separate devices which ASIO would otherwise prevent.

We also now see more USB microphone devices which are input-only audio devices that generally use a generic Windows driver and, with a few exceptions, rarely offer native ASIO support. USB microphones generally require a higher buffer size as they are primarily designed for recording in cases where monitoring is unimportant. When attempting to record via a USB microphone and monitor via a separate audio device, you're more likely to run into issues where the two devices are not synchronized or drift apart after some time. (The ugly secret of many device manufacturers is that they rarely operate at EXACTLY the sample rate specified. The difference between 44,100 and 44,118 Hz is negligible when listening to audio, but when trying to precisely synchronize to a track recorded AT 44,100, the difference adds up over time and what sounded in sync for the first minute will be wildly off-beat several minutes later.) You are almost always going to have better sync and performance with a standard microphone connected to the same device you're using for playback, and for serious recording, this is the best practice. If USB microphones are your only option, then I would recommend making certain you purchase a high-quality one and have an equally high-quality playback device. Attempt to match the buffer sizes and sample rates as closely as possible, and consider using a higher buffer size and correcting the latency post-recording. (One method of doing this is to have a click or clap at the beginning of your session and make sure this is recorded by your USB microphone. After you finish your recording, you can visually line up the click in the recorded track with the click in the original track by moving your clip backwards in the timeline. This is not the most efficient method, but this alignment is the reason you see the clapboards in behind-the-scenes filmmaking footage.)

Other Hardware: Other hardware in your computer plays a role in the ability to feed or store audio data quickly. CPUs are so fast, and with multiple cores, capable of spreading the load so often the bottleneck for good performance - especially at high sample rates - tends to be your hard drive or storage media. It is highly recommended that you configure your temporary files location, and session/recording location, to a physical drive that is NOT the same as you have your operating system installed. Audition and other DAWs have absolutely no control over what Windows or OS X may decide to do at any given time and if your antivirus software or system file indexer decides it's time to start churning away at your hard drive at the same time that you're recording your magnum opus, you raise the likelihood of losing some of that performance. (In fact, it's a good idea to disable all non-essential applications and internet connections while recording to reduce the likelihood of external interference.) If you're going to be recording multiple tracks at once, it's a good idea to purchase the fastest hard drive your budget allows. Most cheap drives spin around 5400 rpm, which is fine for general use cases but does not allow for the fast read, write, and seek operations the drive needs to do when recording and playing back from multiple files simultaneously. 7200 RPM drives perform much better, and even faster options are available. While fragmentation is less of a problem on OS X systems, you'll want to frequently defragment your drive on Windows frequently - this process realigns all the blocks of your files so they're grouped together. As you write and delete files, pieces of each tend to get placed in the first location that has room. This ends up creating lots of gaps or splitting files up all over the disk. The act of reading or writing to these spread out areas cause the operation to take significantly longer than it needs to and can contribute to glitches in playback or loss of data when recording.

Preparing audio for CD burning

forums_noreply@adobe.com — Tue, 24 May 2011 23:25:38 GMT

I think that the information here applies to all versions of Audition, including CS5.5, because it relates to using an external burner. There may be small variations between different versions, but I will check this out and modify the document later, if needs be. Ozpeter's original guide (which this mainly is) will certainly give you the basic information you need, though:

If this is the first time you've tried this, you might consider using a suitable test file to experiment on, and burn to a re-writable CD.

Assuming that your material is fully prepared - that you have got a single 44.1kHz 16-bit stereo file displayed in edit view, possibly as a result of a mixdown from the multitrack - you can proceed as follows:

Right click on the time scale at the bottom of the waveform.
Choose 'Display Time Format>Compact Disc 75fps'.
Right click on the time scale again
Choose 'Snapping>Snap to frames (always)'.

Those steps should help ensure click-free transitions from one track to another.

Go to the beginning of the file and click there, so that the cursor is at 00:00:00:00 - press F8, and that will drop a cue mark there representing the start of track one on the CD. Now place the cursor at the point in the file that you want to set as the beginning of the second CD track. Press F8 to place a cue mark there. Proceed through the file in a similar fashion until the start of every track has been marked. Then finally place a cue mark at the end of the last track, normally the end of your displayed file.

It might be a good idea to save the file now, with the cue marks in it. To ensure that the cues are saved, use "save as..." and put a check mark in the "save non-audio data" box. The program should default to this setting in the future.

Now select 'View>Show Cue List'.
In normal Windows fashion highlight (select) all the cues listed there.
Press the Merge button that is part of the cue list window.
Your cues have now been changed into ranges , which represent the start of track one to the end of track one, the start of track two to the end of track two, and so on.

Now highlight all the ranges, and press the 'Batch' button.
In the dialog that appears, click on the 'Save to files' button so that the lower part of the dialog is enabled.
Enter something relevant in the 'Filename prefix' box - like "Track" or "Song" or whatever - this will ultimately create files called "Track1, Track2" etc or "Song1, Song2...."
Set Seq. Start to "1".
Specify the Destination Folder in normal Windows fashion.
Set the Output Format to "Windows PCM".
Click on "OK"

This will generate in the directory you specified the files you will then burn to CD using Nero or whatever.

In Nero, the audio CD wizard should guide you through the process. Each file will become a separate track with a separate track number.

If you have allowed space between the tracks when you laid them out in the Edit view in the first place, you probably don't want Nero to add 2 seconds between each track. The same applies if it is continuous material like a live concert - you don't want silence between the tracks. So in the Nero list of tracks, highlight all but the first track, right click and select Properties, then set 'Pause' to zero.

In the burn dialog, make sure that you set the Write Method to 'disc at once'.

Sounds complicated? Not really. Once you've done it the first couple of times, it will only take you a few moments. Once you've seen and understood what's happening you should be able to adapt these instructions to suit different circumstances as the need arises.

Display your sound device's mixer directly from within Audition 2 or 3

forums_noreply@adobe.com — Tue, 24 May 2011 23:15:27 GMT

Options>Windows Recording Mixer normally displays the Windows recording mixer application. If you feel confident about editing the relevant system file, you can change this to display whatever mixer application is provided for your particular soundcard as follows:-

Exit Audition.

In Windows, navigate to C:\Documents and Settings\{username}\Application Data\Adobe\Audition\2.0 (or 3.0) and make a backup copy of audition_settings.xml in case you make a mistake.

Now edit that file with a text editor such as notepad, find the string sndvol32 /r and change it to the full path and filename of the program which provides the mixer for your soundcard. On my particular system, for example, it is

C:\Program Files\Echo Digital Audio\Console3\console3.exe

- note that yours is likely to be different, of course...

Save the file, close the text editor, run Audition and check for correct operation. If there is a problem, either correct it or restore the backup copy you made of the audition_settings.xml file.

Thanks to "PQ" on the AudioMasters site for pointing out this tweak.

Audition 3 - maximising panels temporarily

forums_noreply@adobe.com — Tue, 24 May 2011 23:11:54 GMT

This is a very handy feature!

The default key is the ~ ("tilde") key, unshifted, normally found below the "Esc" key. But to select the panel to be expanded you must click on its left-hand tab, the one where its name appears - you can't click just anywhere in the panel to select it for this purpose.

For instance, if you click on the tab of the waveform or track display labeled "Main" and then press the ~ key, it will temporarily expand to fill the whole window. Press the ~ key again and it goes back to its previous size. This can be very useful if your monitor is not very large and you have many panels displayed at once.

The keyboard shortcut can be changed using "Edit>Keyboard shortcuts" if you wish.

Uncompressed Loopology and Resource Center content.

forums_noreply@adobe.com — Tue, 24 May 2011 23:07:49 GMT

If you have the downloaded version of Audition 3, or Loopology content from an earlier version which was supplied in a compressed format, then you can access the uncompressed versions of the files from this page. Also there is the content that used to be in the now-discontinued Resouce Center.

What is in the Audition 3.0.1 bugfix?

forums_noreply@adobe.com — Mon, 23 May 2011 21:25:20 GMT

Changes in Adobe Audition 3.0.1:

• Spectral tools no longer crash machines with more than four CPU cores.

• The Graphic Phase Shifter effect has been re-enabled.

• Performance while recording MIDI data has been improved.

• The Sequencer will now record MIDI data even if the panel is closed.

• Adobe Audition will now launch on Windows Vista® systems where the My Documents folder was moved from the default location.

• The application will now ignore Windows "Locale" settings to format decimal data in comma-delimited XML settings files.

• A Healing Brush crash issue has been addressed.

• Cross-fades are no longer incorrectly added to grouped clips when overlapped with non-grouped clips.

• Invalid cross-fades will no longer be added to the end of a previously trimmed clip after enabling or disabling looping.

• Invalid cross-fades for clips after enabling non-session tempo-based looping have been addressed.

• Dragging cross-faded clips onto the master track no longer creates two additional tracks and an error in the cross-fades.

• Inserting MIDI from the Files panel would cause the application to hang in Edit mode for an audio file whose sample rate didn't match the session.

• Several scenarios where cross-fade changes could corrupt a session were addressed.

• Closing a session without exiting the rewire app no longer causes Adobe Audition to save a blank session.

• Undo no longer becomes disabled after undoing the creation of unique copies of two cross-faded clips.

• Cross-faded clips no longer disappear after undoing move clips.

• Cancelling VST scan no longer causes Adobe Audition to become unstable.

• If a selection existed, a full session mixdown would only process MIDI data through the end of the selection.

• The Open MIDI dialog box was not completely modal and could cause a crash.

• MIDI Host had problems with some Spectrasonics VSTi instruments, where it wouldn't show the entire UI.

• CD burning would sometimes create a corrupted disk but still report a successful burn.

• Applying the Clip/Pop Eliminator no longer crashes the application.

• Crash recovery is now more reliable when using Auto-Save For Recovery.

• When the application detects the possible saving failure that causes a corrupted session, a warning dialog box now appears so users can retry the save.

• Transport controls are no longer disabled if a new session is opened without closing the existing session.

• Cross-fades will now retain their original shape when clips are moved and the session is reopened.

Add your Audition 2 effects presets to Audition 3

forums_noreply@adobe.com — Tue, 24 May 2011 22:56:37 GMT

This is the home of the Effects Migration Tool.

Troubleshoot CD burning in Audition 2

forums_noreply@adobe.com — Tue, 24 May 2011 22:51:03 GMT

If you have trouble with CD burning in Audition 2, there's an Adobe Troubleshooting document about it here.

Audition 2 & 3 presets gone missing? How to re-establish them.

forums_noreply@adobe.com — Tue, 24 May 2011 22:34:13 GMT

It's a good scheme to back up your Audition 2.0 (or 3.0) workspaces and preferences from time to time even if things are running well. To do so is quite simple.

1. Close Audition

2. Go to C:\Documents and settings\{yourusername}\Application Data\Adobe\Audition

3. You should see a folder named 2.0 (or 3.0) - make a copy of the whole folder and its contents and call it "My last 2.0" [or 3.0, or whatever] using normal Windows procedures.

If you then want to reset your preferences to the "factory install" state, delete the original "2.0" or "3.0" folder. When you restart Audition, it will be re-created automatically, and in its default state. But doing so will erase your own preferences and workspaces, so do not do that unless you have a backup first - or even two.

In the future, if you've had a problem you may need selectively to restore (copy) the files or folders from "My last 2.0 (or 3.0)" into "2.0 (or 3.0)", as they contain important setups and customisations which you'll probably want to have back. Here's a list of some of them:-

DefaultWorkspaces [folder] - contains the "factory" workspaces. Audition expects to find the contents there under the original names, but if you want you can replace them with defaults of your own devising, using the same names - but under normal circumstances, leave them alone.

OriginalUserWorkspaces [folder] - these are in essence backups of the workspaces you have saved yourself. If (using the program's relevant option) you restore a workspace after having amended it, Audition will use the the version of the workspace in this folder.

UserWorkspaces [folder] - these are the current versions of workspaces you have created yourself. If you restore a workspace after having amended it, Audition will replace the amended workspace in this folder with the original one from the OriginalUserWorkspaces folder.

AudCust.ini

- Favourites definitions

AUDITION.INI

- Edit view mastering rack definitions

- "Extract from CD" definitions

AudMP3.ini

- Definitions of mp3 encoding settings

audition_settings.xml

- general settings and preferences - this contains a lot of handy stuff

effect_settings.xml

- effect settings

Audition 2 & 3 - Automation modes explained

forums_noreply@adobe.com — Mon, 23 May 2011 21:00:37 GMT

This information is from Durin, originally posted on AudioMasters.

Automation has 5 different modes:

1. OFF - ignores any of the automation parameters for that track

2. READ - process automation data for all parameters for that track. During playback, each parameter that contains automation data is adjusted to match that data.

3. WRITE - overwrites any existing automation data under the playback cursor, unless that automation lane has been made "Safe During Write." For example: You have manually click some Mute on/off points, and in Write mode, attempt to record some Volume fades. If the playback section occurs where Mute nodes existed, they will be overwritten by whatever status Mute happens to be in at the time playback was started. If you click the "Safe During Write" button on the Mute lane, this lane will act as if it were in READ mode while you are writing the Volume data.

4. LATCH - does not overwrite any existing automation data UNTIL you make a change to the parameter, at which point it "latches" on to the new value until you make additional changes or stop playback. Upon stopping playback, it writes a final node and draws the envelope between that point and the next pre-existing node. If no pre-existing nodes exist, the parameter remains at this level for the rest of the session.

5. TOUCH - does not overwrite any existing automation data UNTIL you make a change to the parameter, at which point it gradually moves back to the level it was at before the change was made. For example: Track 1 Volume is set to +1dB with no automation data. In touch mode, if I drop the volume to -3dB during playback, when I take my finger off the knob (or release the mouse button) the volume level will linearly rise back to 1dB. (The time in which the return to the pre-existing parameter level occurs is modifiable. Click Edit > Preferences > MultiTrack and edit the Automatch Time setting. You can also modify the thinning parameters to reduce the number of edit point nodes captured per second.)

I hope that helps some.

Track 1 records on Track 2 - how do I stop this happening?

forums_noreply@adobe.com — Mon, 23 May 2011 20:29:11 GMT

"I recorded track one (music) in the multi-track. Then when I tried to record track two as a separate vocal track, I found that it also recorded the music with it at the same time. This keeps happening!! What can I do?"

Well, you're not alone. If you're using a standard windows soundcard (essentially, ANY Soundblaster, SBLive or compatible, Crystal Audio, ESS, Soundmax, or even some other cards from Turtle Beach) the remedy is in changing the input/output settings in your Windows Mixer. Here's how...

In any version of Windows up to and including XP (*except Vista, apparently...) that you have:

- Double-click on the yellow (or grey) speaker icon located on the lower right hand corner of your screen.

- Select Options>Properties.

- In the "Adjust Volume for" area, select 'Recording'.

- This will show you all the devices you can record from, in the "Show the following volume controls" window.

- Make sure all the devices have a check mark in them.

- Click on OK.

- At the bottom of each recording device, there is a check box with "Select" to the right of it. Use this to select the recording device that you want - if you're recording from Line In, choose LINE. If you're recording from Mic In, choose MIC, etc.

- Make sure the recording Volume is at least half way up.

- Minimize the "Recording Control" window.

- You are ready to record.

Now, if you still have bleed, it's possible that you've either selected something like 'WAVE' for your input device, or perhaps 'Mixed Output' or 'What You Hear'. The latter settings essentially lump ALL audio fed through the soundcard into Adobe Audition. The 'Wave' setting will do exactly what is described above - cause the playback track to be recorded with the overdub track.

If you're using a more pro-level card, chances are it has it's own mixer panel (and thus, is not controlled by the Windows Mixer).

Some cards that have their own mixers: Midiman/M-Audio (Delta series, Audiophile, etc), Echo (Layla, Mona, Gina, etc), Aardvark, Lynx, Frontier Designs, MOTU (828, 2408, etc)...

Adapted from an original post by Audition M.D.

*Ask on the forum. This was changed after a user comment. Also if you have problems with Windows 7, ask a forum question too. When we get a definitive answer to the W7 issues, they'll be added here.

Playback stops when the screen focus is shifted from Audition

forums_noreply@adobe.com — Mon, 23 May 2011 20:19:31 GMT

Go to Edit > Audio Hardware Setup and ensure that the box that says Release ASIO Driver in Background is not checked.

If it is checked, Audition will stop playing or (even more catastrophically) will stop recording when you "click away" from the program, and it loses focus. This enables other programs to use the ASIO driver, which normally cannot otherwise be shared, with the following exception:

Depending on the sound device you have, you can often share out ASIO channels between applications. If you want to do this, then definitely make sure that the driver isn't released, or it won't happen - obviously. Audition only "hangs onto" the ASIO channels that are actually allocated to tracks, and this applies to a lot of other applications too. Whether all ASIO sound device drivers have this capability is another matter, though - YMMV.

Please note that it is inherent in the ASIO standard that you can only have one functional ASIO hardware sound device connected to your computer - this has nothing at all to do with Audition. If you want to run more than one sound device, use ASIO4ALL and WDM or MME drivers.

Links to support documents

forums_noreply@adobe.com — Sat, 10 Nov 2007 00:30:07 GMT

Troubleshoot recording, playback, and monitoring in Audition CS5.5

Support documents for Audition 3.0

Troubleshoot system errors or freezes in Audition 3.0 ( Windows XP)

Audition 3.0 Readme

Troubleshoot installation problems (Audition 3 on Windows XP)

Troubleshoot installation problems (Audition 3 on Windows Vista)

Help files do not open in Audition 3

First steps with VSTi instruments in Audition 3

forums_noreply@adobe.com — Fri, 09 Nov 2007 10:41:24 GMT

- Switch to multitrack view

- Edit > Audio Hardware Setup - make appropriate settings

- In the "Session Properties" window, ensure that Monitoring is set to "Audition Mix"

- In the Audition menu select "Insert > Midi Track"

- In the midi track's control panel, instead of the usual M S R buttons, you'll see M S L - the last button is for "Live Monitoring" - click it on.

- Double click on the inserted track, or click on the "Sequencer" button in the track's control panel

- The first time you do that, the VSTi Plug-in Manager will appear - click on "Scan" button

- You should see the three Adobe built-in VSTi instruments listed, and possibly others that are in your Steinberg VST folder, or any folder that you have previously set as containing your VST and VSTi plugins. Make sure the ones you want enabled are ticked, then click "OK"

- You should now see a window whose tab probably reads "Sequencer: Midi Track A" - drag its right side until you see three icons at the top right hand corner. The first looks like a piano keyboard, the second like a piece from a jigsaw puzzle, and the third looks like a bulleted text list. You can continue to enlarge the window as you wish.

- On the left of the Sequencer window, you'll see some drop down boxes. The first is labelled "VSTi: " - click that box and choose Adobe Audition Polysynth.

- In the next two boxes, select "All" (for the moment).

- Click on the vertical piano keyboard display just beside the piano roll grid. You should hear the Polysynth play.

- Now decide whether you want to use Audition's Virtual Keyboard or an external midi keyboard.

- To use the Virtual Keyboard, click on its icon - the first in the group at the top right of the Sequencer window. Click on the virtual keyboard keys - you should hear the notes play.

- To use your own external midi keyboard, click on the rightmost of the three icons at the top right of the Sequencer window, the one that looks like a bulleted text list. Select appropriate inputs and outputs. Play a note on your keyboard and you should hear the Polysynth play.

- To see the interface for the Polysynth, click on the large Settings button below the Sequencer's M S R buttons. At the top of the window that appears is a drop down box - click it and choose a preset. Or twiddle the knobs as you wish.

- Now read the section in the manual called "Composing with Midi" for further information.

How do you route sequencer material to different ports in Audition 3?

forums_noreply@adobe.com — Wed, 14 Nov 2007 02:25:11 GMT

"Durin" from Adobe wrote:-

"This first implementation is limited to one global MIDI port. Each channel is broadcast on all ports enabled in the hardware preference manager. This was not our preferred behavior, and is one we intend to address in the next release.

The short explanation comes down to time and choosing which features were prioritized over others. As our goal with this release was not to create a full-featured MIDI editor but a VSTi-based sequencer with basic MIDI support for controllers and keyboards, some of the more advanced features MIDI offers had to be deferred in favor of ensuring our VSTi support was solid and robust.

I've already written up feature designs to implement multiple ports, sophisticated hardware routing and assignments, and full SYSEX and Patch support, and it's my hope that our next release can continue to beef this sequencer up and make it as valuable as the rest of the application. If you have suggestions or a wishlist of features you'd like to see, please share them either in the forums or privately to sndbugs@adobe.com "