Recording - October 2011 - 32

Adobe Audition CS5.5

Perhaps the most important pane (and one that is prominently displayed by default) is the Undo pane, where every action you’ve done is shown, and the option is provided to remove any processing, edits or other file changes prior to saves. This is especially useful in conjunction with the easy-access functions (like the fades and volume changes), since these have a direct impact on the waveform. The basic editing system in Audition is highly efficient; it responds quickly to every edit move, has multiple levels and directions of zoom (necessary for super-tweak editing), works easily with large numbers of files and does it all without overly taxing your system. In many ways, the editor does what you expect it to do, and does so quickly. But once you start moving beyond standard editing, you come into “The Zone” for Audition, and it all starts with the spectral editor. Spectral editor If you’ve never used a spectral editor before, you are in for a treat. This editor provides a 2D image of the frequency spectrum of the sound, and allows you to edit this information as if you were using a graphical image editor. You can select segments of the frequency range and delete, copy or move them, use a “healing brush” to make corrections based on nearby material and otherwise alter the sound of the audio file as if you were painting a canvas. This may sound like a creative Nirvana— and it is—but it also is a unique and useful way of identifying and fixing issues in a troubled file. Clicks, squeaks and bumps are immediately visible in a natural way, and the graphics-inspired tools that Adobe provides makes correction (or creative destruction) much easier. In this new version, the editing display allows you to simultaneously view both the spectral view (where frequency-based edits are easy) and the waveform view (where timing and level edits are easy). This means that you have immediate access to both options for editing, with instantaneous updates in one display when editing occurs in the other. The spectral editor is mindblowing and probably worth the price of admission on its own. Effects Another bonus comes with the effects processing options provided by Audition. In addition to providing access to all of your VST and Audio Unit effects, the Audition package includes a large number of helpful editing tools. The included effects are provided in the following functional groups:
32
RECORDING OCTOBER 2011

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Amplitude/Compression Delay/Echo Diagnostic Filter/Eq Modulation Noise Reduction/Restoration Reverb Special (guitar/vocal) Stereo Imagery Time and Pitch

We will dive into some of these processors shortly, but suffice it to say that most, if not all, of the processors you might need are provided as Audition-native devices, reducing the need to load up on a lot of third-party plug-ins in order to get credible results. The built-in processing is not realtime; instead, you can get a preview of the sound (using the “power buttons” on each

had its start as an early Windows-based DAW, so multi-track recording, editing and mixing are part of its heritage. The multitrack system is quite extensive. The automation editing system is well thought out, with the basics (volume and panning envelopes and non-destructive fades) right on the clip display, and a dropdown automation lane for showing any other automation curves. Since automation displays can get rather busy, it’s nice to have a special display area for the lanes that you want to see, and the ability to hide automation lanes when not needed. The other major thing that the multitrack editor has going for it is the integration with the file editor. Double-click on a track segment and it immediately comes up in the editor, ready for more advanced editing. Flip back and forth between multitrack and clip editor, do some magic on either side and it is available in the other—no file saving or black magic required. This is so much more fluid than other systems (that rely on external editors) that it is difficult to imagine using another system for these sorts of edits.

device, or on the rack), and then apply the effects to the file to seal the deal. I was looking in vain for a mechanism for automating effects parameters over the length of the file. Other than the “Amplitude Envelope” effect, there is no way to vary setting over time—an option found in other popular file editors. At first, I thought this was a serious omission until I realized that, for automated effects handling, the multitrack editor was more appropriate. Wait. The what...? Multitrack editor overview Yes indeed, there is a complete multitrack editing system as part of Audition. It is more than a simple compositing tool, too—it is a full-fledged multi-track system with automation management, realtime effects processing, and complete mixer implementation and much more. Remember, this software

Flexible UI One of the most important features in Audition is something that Windows users might take for granted: extreme user interface flexibility. Audition features 20+ windows, many of which are in heavy use when you’re doing multitrack editing. Each of these windows can exist in one of several forms: as tabs in a pane, in a new pane, or as a separate floating window. When you first select a window in Audition, it will show up in an appropriate place—as a floating window for data or as a tab for processing. But you can grab any of these windows, place them in other tabs, “tear them off” as floating windows or dismiss them with hardly a blip. It’s good to see a developer push the envelope on Mac UI development, and creating a flexible and efficient system as a result.



Recording - October 2011

Table of Contents for the Digital Edition of Recording - October 2011

Recording - October 2011
Fade In
Contents
Talkback
Fast Forward
Postcards From The World Of Recording
Grace Design m103
Adobe Audition CS5.5
Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Blue Reactor Multi-Pattern Condenser Mic
Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Millennia Media HV-35 500-Series Mic Preamp
Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Pulse Techniques EQP-1A3
Audix CX212B Multi-Pattern Condenser Mic
A-Designs HM2 Compressor “The Nail”
It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Electro-Voice RE320 Dynamic Mic
Alesis iO Dock
Putting Together The Pieces
Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Readers’ Tapes
Advertiser Index
Fade Out
Recording - October 2011 - Recording - October 2011
Recording - October 2011 - Cover2
Recording - October 2011 - 1
Recording - October 2011 - Fade In
Recording - October 2011 - 3
Recording - October 2011 - Contents
Recording - October 2011 - 5
Recording - October 2011 - Talkback
Recording - October 2011 - 7
Recording - October 2011 - Fast Forward
Recording - October 2011 - 9
Recording - October 2011 - 10
Recording - October 2011 - 11
Recording - October 2011 - Postcards From The World Of Recording
Recording - October 2011 - 13
Recording - October 2011 - 14
Recording - October 2011 - 15
Recording - October 2011 - 16
Recording - October 2011 - 17
Recording - October 2011 - 18
Recording - October 2011 - 19
Recording - October 2011 - 20
Recording - October 2011 - 21
Recording - October 2011 - 22
Recording - October 2011 - 23
Recording - October 2011 - 24
Recording - October 2011 - 25
Recording - October 2011 - Grace Design m103
Recording - October 2011 - 27
Recording - October 2011 - 28
Recording - October 2011 - 29
Recording - October 2011 - Adobe Audition CS5.5
Recording - October 2011 - 31
Recording - October 2011 - 32
Recording - October 2011 - 33
Recording - October 2011 - 34
Recording - October 2011 - 35
Recording - October 2011 - 36
Recording - October 2011 - 37
Recording - October 2011 - Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Recording - October 2011 - 39
Recording - October 2011 - 40
Recording - October 2011 - 41
Recording - October 2011 - 42
Recording - October 2011 - 43
Recording - October 2011 - 44
Recording - October 2011 - 45
Recording - October 2011 - Blue Reactor Multi-Pattern Condenser Mic
Recording - October 2011 - 47
Recording - October 2011 - Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Recording - October 2011 - 49
Recording - October 2011 - 50
Recording - October 2011 - 51
Recording - October 2011 - Millennia Media HV-35 500-Series Mic Preamp
Recording - October 2011 - 53
Recording - October 2011 - Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Recording - October 2011 - 55
Recording - October 2011 - Pulse Techniques EQP-1A3
Recording - October 2011 - 57
Recording - October 2011 - Audix CX212B Multi-Pattern Condenser Mic
Recording - October 2011 - 59
Recording - October 2011 - A-Designs HM2 Compressor “The Nail”
Recording - October 2011 - 61
Recording - October 2011 - It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Recording - October 2011 - 63
Recording - October 2011 - 64
Recording - October 2011 - 65
Recording - October 2011 - Electro-Voice RE320 Dynamic Mic
Recording - October 2011 - 67
Recording - October 2011 - 68
Recording - October 2011 - 69
Recording - October 2011 - 70
Recording - October 2011 - 71
Recording - October 2011 - 72
Recording - October 2011 - 73
Recording - October 2011 - Alesis iO Dock
Recording - October 2011 - 75
Recording - October 2011 - Putting Together The Pieces
Recording - October 2011 - 77
Recording - October 2011 - Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Recording - October 2011 - 79
Recording - October 2011 - Readers’ Tapes
Recording - October 2011 - Advertiser Index
Recording - October 2011 - 82
Recording - October 2011 - 83
Recording - October 2011 - 84
Recording - October 2011 - 85
Recording - October 2011 - 86
Recording - October 2011 - 87
Recording - October 2011 - Fade Out
Recording - October 2011 - Cover3
Recording - October 2011 - Cover4
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