When mixing/bouncing down, Audition SHOULD NOT have to reprocess all the track effects if the tracks are pre-rendered. If I prerender all tracks with FX, The mixdown should basically be as fast as if no FX are on tracks.
This is definitely not the case. A mixdown takes the same amount of time whether or not FX are pre-rendered.
For a 90 minute movie score session with lots of HQ FX, this can make the render take hours, when it should take only a few minutes (as if it had no FX).
Makes for a big waste of time waiting for mixes and bounces.

I edit podcasts using the waveform editor, and sometimes have 3 or more people in a conversation that necessitates having an audio file with 3 or more channels, in order to keep everyone separate. I also have Snap to Zero Crossings enabled under Snapping, so that edits are smoother and there isn't a loud pop or click every time I hit play when the playhead does not start on a zero crossing. I only now realized that the Snap to Zero Crossings feature only works on mono and stereo files - anything more than 2 channels and it's greyed out.

It would be great to have this feature on files with 3 channels or more. The Adobe support person I spoke with told me that for, as an example, a 5.1 file it would be nearly impossible to find a zero crossing on all 6 channels at the same time, but I only ever have one channel with audio on it at a time since it's an interview podcast, so the other channels are blank at any given moment.

Even if that is impossible to implement, maybe an option to have a fade in/fade out on playback when pressing the play and pause buttons, to avoid clicks?

In a recent version update Audition seemed to lose the ability for a new recorded favourite to work on a selection, or generate things at the location of the playhead. The favourites recorded in previous versions (when they were called scripts) still work, but no new ones can be created (which suggests that the software is still there but a piece of the interface has been lost).
In the current version when creating or updating a favorite only fixed absolute time periods and ratios are able to be worked on - which is useless unless you are working on exactly the same length audio file every time!
There is more detail in this thread: https://community.adobe.com/t5/audition/unable-to-make-recorded-favorite-act-relative-to-playhead/m-p/11366757?page=1#M24691

@Durin G

Adobe Audition has been adopted by many journalist in Canada as the field/home audio editor during COVID-19. Only a few journalist were using it pre COVID-19 but now with most journalist working from home many more are attempting to use it. At the Canadian public broadcaster DALET is the in-house Networked editing system. I am appealing to Adobe to update the file management in Audition. For less tech savvy journalist Audition has been a nightmare doing their job. You create a session and than you add different files to the session. The next job is to extract clips, name them and place them somewhere, a bin maybe. I can isolate a clip, Save to New, and Save As with a new name. Sound great, right? My clips are visible in the Files window, with the new name along with the sesx file and my original sound files. I can save this session but when I reopen, my clips that I created and named are not listed, only the original sesx and sound files. The clips are on the computer somewhere but having to find them and drag them back is very cumbersome especially when working on deadline, and many have missed their deadline because of the slow cumbersome editing process. I can see from the many posts in this Community that users have been complaining about this for years. Whatever the reason has been not to make this improvement, please rethink your strategy. This update would make the lives of so many journalist less stressful while reporting on this horrific world wide event.

ted with how little support Audition and Premiere Pro have for it. For instance, support is limited to Mackie Control (MC) mode, the encoder knobs are limited to panning, and the buttons to their default functions, some of which don't work.

This device is relatively inexpensive and is extremely popular with Lightroom Classic users (using the midi2lr plugin). It is unfortunate that the developers couldn't invest a little bit of time to make this device awesome in Audition and Premiere Pro by creating one or more maps for it to make this and other control surfaces as useful as possible.

Though similarly limited in the default MC mode, Presonus' Capture One supports full MIDI mapping. I was able to switch the controller to MIDI mode and by adjusting the settings in the X-Touch editor and mapping them in Capture One, I was able to control 16 tracks of audio.

It shouldn't be difficult for Adobe to purchase the few common control surfaces out there and have its dev team create some default map options for them so that they work well in Premiere Pro and Audition (and Lightroom Classic).