When you have more tracks than can fit vertically on the screen at once, and some are set to pre-render, you have to watch for the little circle turning blue as you scroll to know if something is prerendering. I would like one of the following:
1. The entire track properties/info area at the left end of the track turns a different color instead of the same gray as other tracks (or turns a tinted version of gray). Allow user to select what the color is.
2. The whole track or at least the info/properties area is given a bright outline in the track's color or in a color chosen by the user.
When I have a complex multitrack session in progress the pre-rendering sometimes takes up a lot of processing power and I get the telltale clicking noises as I'm listening. Then I have to look for which channels are the culprit and wait for them to finish. It would be nice to be able to see at a glance when they're done.

I have an adobe rant ...I had always used Soundbooth, it's easier to use in my opinion. When audition opens up for new users it opens up the sound file in voice track mode and I was so agitated because I couldn't figure out how to edit it or change the interface I tried changing the workspaces and still no way to edit the file, I would have never thought to click on multitrack because i only had one sound file not multiple files. I really hate that audition is so poorly designed a person well versed in other applications in the creative suite should be able to pick it right up. I can't even imagine how a noob would feel with this stupid interface. I wish they would have just enhanced adobe sound booth I'm so sick of having to re-learn new programs cause they can't make up their minds on a solid sound application.

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JKL is pretty familiar to anyone who uses Audition regularly. If you edit podcasts, you know how crucial this can be for the purposes of saving time. The problem is, much like the terrible means of searching for silence in Audition (for the purposes of dialogue editing, anyway), it’s far too rigid and playback sounds incredibly unnatural. Right now, I have my shuttle increases set to half speed, which gives me a roughly 1.3X playback. I’d like to use a higher speed, but anything greater than that is useless for spoken word. They’re chipmunks and you can’t understand anything. Pro Tools gives you the option to perfectly set playback speed to your preference since it allows you to enter an exact percentage. This is immensely helpful. And there should also be a toggle for how the pitch of the output changes. I mean, every single podcast and audiobook player can do this, but some of the best implementations are Overcast and Libby (and even Audible), both of which do a good job of allowing you to smoothly adjust speed for preference with minimal destruction to the “legibility” of the words spoken.

Along these lines, I use a Kensington SlimBlade for moving around my DAW. There are some options to scrolling speed and direction, and I have my upper-right button set to allow me to hold it to scroll horizontally; but what I really want is for Audition to allow me to fine-tune horizontal scrolling behavior even further. I want to be able to dial in the speed and inertia of scrolling at will and even assign hot keys to change behavior on the fly as needed.

It seems like every DAW maker, with perhaps the odd exception of Ferrite on iPadOS (which itself still has a long way to go), was blindsided by the rise of spoken word for the purposes of editing. With the onset of audiobooks and podcasts rising rapidly even today virtually every DAW is ill-suited for the task. It’s like everything out there is thinking in terms of a 3-4 minute song and not long form. There is the exception of movie scores, but even then it’s a very specialized task that’s ultimately broken up into much smaller bits that are later added to the final product in usually a video editing environment. You can sort of do this with audiobooks, but even then a typical session is hours long. Podcasts are often 30-120 minutes, easily. We need a way to move around these editing environments much, much more quickly. We need playback that is much, much more adaptable to listening quickly. We need tools like strip silence that eliminate the unnecessary stuff recorded when another person is speaking, which helps tremendously with not only overall editing speed, but also the application of effects. We need a method better than groups and locking to timeline to prevent accidentally getting audio out of sync. We need excellent multicore performance so we don’t have to rely on pre-rendering as aggressively before mixing down, which can take an hour or more for the typical hourlong podcast. Leveraging just one core is just INSANE to me in 2020.

One of these days someone will come along that will not only create a purpose-built podcasting DAW that not only thinks in the terms above, but they’ll also have it on multiple platforms (including mobile), they’ll have default layouts and preset workspaces better suited to the task of long-form dialogue, and they’ll support excellent plugins while still cutting out the cruft that comes with supporting music or soundtracks first. This wold be a huge, huge product. It’ll think about automatically routing and recording remote audio during guest call-ins while also recoding locally. It’ll think about syncing dialogue (it can use the remote track as reference, even as guests send in their local audio), it’ll think about (as perhaps an even better alternative to strip silence) automatically creating disparate clips of only the portions where people are talking using the other already synced tracks as a way to gather intelligence about who is speaking when, and so much more.

The first DAW to really understand the needs of podcast and audiobook editing — which are in some ways is much more lightweight, and in many ways more esoteric than that of music or soundtracks — is going to OWN this space. They’ll have a huge, huge hit on their hands if they make a purpose-built tool.

I saw the Sensei demo recently where they automatically isolated ums and ahs. This is indeed a start and gives me hope for Audition, but at the same time Adobe moves so painfully slow and so much of the low-hanging fruit has already been ignored. And what’s the point of a demo if I can’t use it for, what, another 2-3 years? It doesn’t help.

What helps is simpler stuff you folks can implement now.

After using Essential Sound - Ducking, I turned off "Monitor Clip Changes" so that I could hand adjust keyframes. (Audition does a poor job of auto-adjusting in any way that sounds good and makes sense, but that's another issue.)

I was finished, but I felt like the Amplify effect which appears in the Effects Rack when using the Ducking feature was causing the sound to clip out on the high-end. So, I turned off the Amplify effect in the Effects Rack, and when I played the track, the effect itself was removed as well as all of my keyframes that I hand adjusted.

No amount of "Undo" would fix the issue, even though my History still shows many Modify Keyframe actions taken. There's nothing I can do to get that time back, but I can report this as a bug. Even turning off Ducking in Essential Sound removes all the keyframes. This really shouldn't be happening; we should be allowed to review a track without these effects and NOT lose our work. Or is this a case-by-case bug?

Hi! I'm encountering a weird issue when I'm moving my mouse over the multitrack editor. The mouse cursor sort of gets "stuck" on the audio clips, it seems to be trying to change the cursor shape between the normal mouse pointer shape and the "move" cursor, many many times, so it sort of flickers.

I use an external Thunderbolt monitor connected to my macbook, and this only happens when the Audition screen is on the (much bigger) external monitor, and that monitor is the "main" monitor for OSX (see screenshot). If the Audition screen is on the (much smaller) macbook screen, in either configuration, this behavior doesn't happen. When the macbook screen is the main screen, this doesn't happen, although then it disrupts all my other workflows and screen management.

I've just updated to Audition 13 in hopes that it would be fixed, but it is not :(

Dear Developers,

Today, I have experienced that over 70 .wav files created using Audition under macOS 10.14.6 are not loaded in python. The code I have used is <paulstretchstereo.py> under <https://github.com/paulnasca/paulstretchpython>.

After converting those files by using RX7 or by using Audacity, python could load the files.

Why does it happen?

The following is the error message from python:

stretch amount = 8.04
window size = 0.25 seconds
/Users/prko/opt/anaconda3/lib/python3.7/site-packages/scipy/io/wavfile.py:273: WavFileWarning: Chunk (non-data) not understood, skipping it.
WavFileWarning)
Error loading wav: shortpercussivelikeJG3GA.wav
Traceback (most recent call last):
File "/Users/prko/paulstretchpython/paulstretch_stereo.py", line 149, in <module>

(samplerate,smp)=load_wav(args[0])

TypeError: cannot unpack non-iterable NoneType object
Paul's Extreme Sound Stretch (Paulstretch) - Python version 20141220
by Nasca Octavian PAUL, Targu Mures, Romania

I am not sure if it is a bug or not, but it is very strange....

Thank you in advance for your work.

Currently, according to Adobe, there is no way to change the sample type to a sample rate other than those listed on the pull down list. This is very disappointing and means that if I choose to record audio at 528hz, 432hz, etc., I now will have to go and find another company and software to accomplish this. This is extremely disappointing since I pay for the full professional CC software, and is surprising that Adobe Audition has not been designed to support other and more popular audio sample rates. Will Adobe be changing Adobe Audition to support other sample rates other then the defaulted ones? Thank you.