Adobe AUDITION 1.5 - Manual (Page 64)

CHAPTER 2 56
Setting up Adobe Audition
Note: On sound cards that support sample accurate devices (that is, synchronized device starting,
and all devices keyed off of the same clock) you don’t need to select this option. This option allows
for some measure of near sample-accurate synchronization across different sound cards or a
situation where a single sound card uses different clocks for playback and recording. (This
situation is common for consumer and other low-end sound cards.)
Delete Old Takes After Merging Automatically deletes any unused takes created during a
punch-in when you select a take. If you don’t select this option, unused takes remain
available to the Session (in the Insert menu) and occupy hard drive space.
Crossfade Time Determines the amount of time (in milliseconds) over which crossfading
occurs when a take created using punch-in is merged back into the surrounding waveform.
Mixdowns Determines the bit-resolution that is used when performing a mixdown.
Regardless of the session format (16-bit or 32-bit), you can generate mixdowns at either
16-bit or 32-bit quality with this option. The default is 16-bit. Click Dithering Option to
specify how to dither the 16-bit mixdown.
Track Record Specifies how waveforms are created when recording directly into the Multi-
track View: as mono or stereo, and as 16-bit or 32-bit.
Pre-Mixing Determines the bit size used for the background mixing process. Best quality
is achieved by leaving this at the default 32-bit setting. However, if you’re using multiple
sound cards, it may be advantageous and faster to choose 16-bit for pre-mixing, as less
data will be transferred across the hard drives. For single output device situations, or faster
hard drives, 32-bit is better as it provides optimization at mixdown.
Panning Mode Specifies the method used for panning waveforms in a multitrack session.
• L/R Cut (log): Pans left by reducing the volume of the right channel, and pans right by
reducing the left channel volume. The channel being panned to doesn’t increase in
volume as panning gets closer to 100%.
• Equal-power Sine: Pans left and right channels with equal power, so a hard pan left will
contain the same loudness as both channels together. This results in an increase of 3 dB
RMS on the channel being panned to when at 100%.
Note: Because panning can actually make one channel louder than the original waveform,
audible clipping can occur in 16-bit sessions. To avoid this, work in the 32-bit realm if you’re
using the Equal-power Sine panning method.
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