Do either of the following:
Last updated on
May 16, 2021
- Audition User Guide
- Introduction
- Workspace and setup
- Digital audio fundamentals
- Importing, recording, and playing
- Multichannel audio workflow
- Create, open, or import files in Adobe Audition
- Importing with the Files panel
- Extracting audio from CDs
- Supported import formats
- Navigate time and playing audio in Adobe Audition
- Recording audio
- Monitoring recording and playback levels
- Remove silences from your audio recordings
- Editing audio files
- Edit, repair, and improve audio using Essential Sound panel
- Session Markers and Clip Marker for Multitrack
- Generating text-to-speech
- Matching loudness across multiple audio files
- Displaying audio in the Waveform Editor
- Selecting audio
- How to copy, cut, paste, and delete audio in Audition
- Visually fading and changing amplitude
- Working with markers
- Inverting, reversing, and silencing audio
- How to automate common tasks in Audition
- Analyze phase, frequency, and amplitude with Audition
- Frequency Band Splitter
- Undo, redo, and history
- Converting sample types
- Creating podcasts using Audition
- Applying effects
- Enabling CEP extensions
- Effects controls
- Applying effects in the Waveform Editor
- Applying effects in the Multitrack Editor
- Adding third party plugins
- Notch Filter effect
- Fade and Gain Envelope effects (Waveform Editor only)
- Manual Pitch Correction effect (Waveform Editor only)
- Graphic Phase Shifter effect
- Doppler Shifter effect (Waveform Editor only)
- Effects reference
- Apply amplitude and compression effects to audio
- Delay and echo effects
- Diagnostics effects (Waveform Editor only) for Audition
- Filter and equalizer effects
- Modulation effects
- Reduce noise and restore audio
- Reverb effects
- How to use special effects with Audition
- Stereo imagery effects
- Time and pitch manipulation effects
- Generate tones and noise
- Mixing multitrack sessions
- Video and surround sound
- Keyboard shortcuts
- Saving and exporting
Show or hide track routing and EQ controls
Although the wide variety of routing and EQ controls may seem intimidating at first, the controls for each track are identical, so once you’ve learned one, you’ve learned them all.
A. Editor panel B. Mixer
-
On the left side of the Mixer, click the Show/Hide triangle for one or more sets of controls.
In the upper left corner of the Editor panel, click the button for Inputs/Outputs
, Effects 
, Sends 
, or EQ 
.Tip: In the Editor panel, drag the right or bottom border of the track controls to show more or less detail.
Dragging the right border of the track controls to reveal more or less detail
Dragging the right border of the track controls to reveal more or less detail
For more information, see Vertically zoom tracks.
Assign audio inputs and outputs to tracks
-
In the Inputs/Outputs area of
the Editor panel or Mixer, do the following:
From the Input menu, choose a hardware input.
From the Output menu, choose a bus, the Mix Track, or a hardware output.
Note:The list of available hardware ports is determined by settings in the Audio Hardware preferences. (See Configure audio inputs and outputs.)
For more information, see the following:
Invert the polarity of an input
If a pair of stereo inputs such as overhead drum microphones are out‑of‑phase, you’ll hear duller sound and a narrower stereo image. To correct the problem, invert the polarity of one the inputs.
-
In the Input Controls area
of
the Mixer, click the Polarity Reverse button 
.
Note:
To understand audio phase, see How sound waves interact.
Routing audio to buses, sends ,and the Mix Track
Buses, sends, and the Mix Track lets you route multiple track outputs to one set of controls. With these combined controls, you can efficiently organize and mix a session.
Note:
To save the output of an audio, bus, or Mix Track to a file, see Export multitrack mixdown files.
A. Vocal B. Reverb bus receiving vocal and guitar sends C. Guitar D. Drums bus combining drum outputs E. Bass outputting direct to hardware F. Mix Track G. Hardware outputs
Understanding bus tracks
With bus tracks, you can combine the outputs of several audio tracks or sends and control them collectively. For example, to control the volume of multiple drum tracks with a single fader, output all the tracks to one bus. Or, to optimize system performance, apply a single reverb effect to a bus track, and then output sends from multiple tracks to that bus. (Individually applying the same reverb to multiple tracks would inefficiently use CPU resources.)
Although bus tracks lack a hardware input, they have all the other features of audio tracks. You can apply effects and equalization and automate your changes over time. For most mixes, you’ll output buses to hardware ports or the Mix Track. If you need to combine buses, however, you can even output them to other buses.
A. Drum kit bus B. Hand drum bus C. Combined drums bus outputting to either the Mix track or hardware
Understanding sends
Sends let you route audio from a track to multiple buses, creating tremendous signal‑routing flexibility. Each track provides up to 16 sends, which you configure independently from the track output. For example, you can output an unprocessed track directly to a hardware port, but output Send 1 to a reverb bus and Send 2 to a headphone bus. (A headphone bus lets performers hear a unique mix during recording. Drummers, for example, may prefer a louder bass track.)
A. Send 1 outputs to delay bus B. Send 2 outputs to reverb bus C. Mix track combines vocal, guitar, delay, and reverb outputs
Understanding the Mix track
A session always contains one Mix track, so you can easily combine the outputs of multiple tracks and buses and control them with a single fader. Because the Mix Track exists at the very end of the signal path, it offers fewer routing options than audio and bus tracks. The Mix Track can’t directly connect to audio inputs, or output to sends or buses; it can only output directly to hardware ports.
Set up a send
When you set up a send, you determine the volume and stereo pan it outputs to an assigned bus. You also place the send either pre‑ or post‑fader. Pre‑fader sends aren’t affected by track volume; post‑fader sends are. (For example, if you output a pre‑fader send to a reverb bus, the reverb continues after you fade out dry audio. If you instead output a post‑fader send, the reverb fades out in unison with dry audio.)
A. Input B. EQ C. Track volume D. Track mute E. Send F. Effects Rack
-
In the Sends area of
the Mixer, click the send Power button
.
-
Click the Pre‑Fader/Post‑Fader button to place the send either before track volume
or
after 
.
-
Set send Volume
and
Pan 
.
-
From the Send pop-up menu, select a bus.
For more information, see Insert effects before or after sends and EQ.
Equalize tracks
For each track, the Multitrack Editor provides a parametric equalizer.
-
In the EQ area
of
the Editor or Mixer panel, do any of the following:Double-click the graph to access detailed controls in the Track EQ window. (See Parametric Equalizer effect.)
Click the EQ Power button
to
compare audio with and without equalization.