Audition CS5.5 for Windows Digital Download

.Adobe Audition CS5.5 has gone native! Audition now runs on both Mac OS and Windows PC platforms. Also new to this version is 64-bit support for presumably faster processing, high-performance audio engine which allows background processing in multiple sessions; native 5.1 multichannel support, and improvements on the already outstanding noise reduction capabilities available in Adobe Audition 3.0.
Check out this Adobe Audition CS5.5 noise reduction video from Sonic Orb Studios. (This is a 2018 update since the original video I had here is no longer available.) Sonic covers, not only noise reduction, but some EQ adjustments after to recapture some of the fullness of the voice that can be flattened after noise reduction.
Opening files is now lightning fast (it used to take a while to scan them) and processing is measurably quicker. For example, a heavyweight effects rack applied to a 4-minute file in Audition 3 took 288 seconds to render compared to just 105 seconds in CS5.5.
Processes can now be applied in the background, so you can get on with editing other files in the meantime. Very impressive, and a real boon if time is money to you. And the Mac version works great, by the way.
When we looked at Audition 3, we reckoned the app might benefit from features found in other Adobe products, such as a History panel for easy undo/redo - Audition now has this.
The GUI has been pleasingly smartened up in general and has some useful new tricks, like simultaneous waveform/spectral view. The new Resource Central panel lets you audition and download royalty-free samples from Adobe.
It offers all the musical loops and beds of Audition 3's Loopology DVD as well as a huge array of superb FX. It's as fast as you could hope for from an online system, though there's no mass download option, and you can only see ten search results per page.
Layout SpecialIt's usual to describe the layout of a DAW so that reader can get an idea of how one might work with it, but the flexibility of Adobe's interface actually makes this a little difficult! Every single panel can be docked in any position, and as you drag and drop the panels, coloured overlays appear representing the docking pattern. This is a wonderful thing, and allows you to tailor your workspace to your needs. In fact, 'workspaces' are exactly what Adobe call these layout presets.
You can use the drop‑down box at the top right to change between workspaces at any time, and store any number of workspaces to suit different tasks. Switching between some of the different workspace presets is a great way to tour all the different features that Audition has to offer, from frequency analysis and dynamic‑range measurement tools to automatic volume matching of multiple audio clips. Some panels, particularly those featuring new features or displaying built‑in effects, include a small 'i' in the top right corner; when clicked, this will take you a help page that breaks down all of the functions. It's a handy feature that beats trawling Google for answers.
Let The Data FlowAdobe have recently been focusing on the importance of some key aspects of digital media management: metadata (supplementary information stored within a file) and the free flowing of media and project files between programs in the Adobe suite, as well as to and from software made by other manufacturers. Metadata allows assets such as audio and video clips to contain detailed notes, so if you're handing part of a project on to someone else, you can be sure they see any special information they might need to, such as a note saying "slight clipping at 30 seconds, your call...”
Adobe's openness is exemplified in their policy of using the XML standard for project files, which means you'll be able to import and export session data from other popular DAWs and NLEs. This is no bad thing for those who collaborate on projects, and shows Adobe's great confidence in their products: they don't lock you into a 'walled garden', and you're free to come and go as you wish.The mixer channels in Audition CS5.5 have all the features you'd expect, including built‑in EQ. Surround panners are also an option if you're working with multi-channel formats.The mixer channels in Audition CS5.5 have all the features you'd expect, including built‑in EQ. Surround panners are also an option if you're working with multi-channel formats.
Multitrack EditingAudition contains a multitrack editor and a single‑track waveform editor. The main panel can be switched between these two using buttons at the top left, or the '0' and '9' keys. Multitrack view is very familiar, presenting the usual suspects, such as a mixer tab and arrange page. Metering has received a nice upgrade, and now offers the choice of a variety of different scales and appearances, suitable for everything from casual film‑making to broadcast level checks. The addition of a video monitor is a serious bonus for those working in post-production. Like the other screens, this monitor can be docked and resized anywhere you like.
Audition is full-featured, and in real‑world project use there weren't a lot of things I missed from other DAWs, though it could still do with a couple of additions. Post‑production projects tend to be very track‑heavy, with tracks sometimes being used for single sound effects that occur once in a whole film. Audition could really do with a Reaper-style folder track system, where a track is toggled to become a drop‑down folder for other tracks as well as a bus. This track organisation system is, as yet, unrivalled amongst the DAWs I've used and I'd love to see it (or a similar system) incorporated into Audition's multitrack view.
Adobe's contextual 'smart tool' is as intuitive as any, though I kept clicking the pan automation envelope by accident when trying to perform other tasks. You can globally disable automation edits in the Multitrack menu, but a single shortcut key for this would be very useful.
As with all DAWs, volume automation near the lower end of the scale can mean huge changes in perceived volume within only a few pixels of envelope movement, so a global or per‑track 'envelope zoom' would help tremendously. That said, envelopes, are handled very well. Automation is provided for effects at a per‑clip and per‑track level and the system can access all plug-in parameters even in very complex effects, enabling tweaking with all the fine resolution you'd expect.
Spectral EditingWaveform view replaces multitrack view when you double‑click a clip, as well as when you manually select it. It appears just as you'd expect it to, with a large waveform display commandeering the same panel that multitrack view uses. You can perform your usual wave adjustments, edits and trims here, and you also have access to Audition's diagnostic tools, which include a DeClicker, DeHummer, and a silence Deletion tool. There's an amplitude statistics tool here too, which can measure dynamic range and RMS loudness: useful for mastering applications.
Effective EffectsThough each channel has its own 'analogue modelled' EQ, you can use any of your favourite VST effects in Audition. Effects are either displayed in the Effects panel for the currently selected track, or in the track itself, depending on whether effects, routing, EQ or inputs and outputs view is selected.
Audition has some powerful effects that are designed for off-line use, but can nevertheless be plugged into the multitrack view in real time, if you have the processor power. These effects (such as the Adaptive Noise Reduction described in the 'Noise Annoys' box) appear in red, warning that you may experience the usual pops and dropouts associated with insufficient processing power. If you do experience problems with real-time playback, the freeze button performs as it does in other DAWs, bouncing the track in the background in order to reduce CPU load.
Though I have my own favourite VSTs, I found Audition's effects fine for most work, with built‑in, simple convolution reverb working well for matching spaces between location and studio sound, and the multi‑band compressor sounding nice too.
Power To PremiereFor users of Adobe Premiere CS5.5, Audition is incredibly powerful. In the previous suite, CS5, I would have had to separate my audio clips from Premiere into separate tracks, then either bounce stems and chop these in a multitrack editor such as Reaper, or give each clip its own stem. Either way, it was a lot of time and effort.
With CS5.5, things are a lot easier. After selecting the Premiere sequence you want to edit, choose Edit, Edit In Adobe Audition, and Sequence, and you'll be presented with a dialogue. Here you can select various options, including whether or not you'd like Premiere to encode a preview video for Audition to use, whether you'd like any audio effects you've applied in Premiere to be rendered, and how many seconds worth of 'handle' you'd like either side of the current audio clips.


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