Stereo or Mono Multitrack session & Panning

I record my audio tracks on a 8 track multi-track recorder and import them into my PC, then into a multi-track session. My files are mono. My final output from my session is in stereo. However, I can't seem to figure out how to pan. For example. Lets say Track-1 is Guitar and Track-2 is Bass. I would like the guitar to be on the left side of the mix and the bass on both sides (left and right). Since my tracks are mono there does not appear to be a pan option. I'm a Premiere Pro guy swimming in an Audition pool. Can't seem to figure out what I am doing wrong.

Just to expand on what ryclark was saying, also make sure that your mono files are going into mono tracks, not stereo ones with the same info in both channels. You can't pan stereo tracks.
Also, just as an aside, besides the pan control there's also a pan envelope you can enable--very useful if you want to move things around in real time. (I'm just thinking of that 'cause I'm working on a show that has me panning stuff all over the place mid-track.)

Similar Messages

Problem obtaining stereo separation in multitrack export mixdown

When I place stereo mp3 files in the timeline (one voice in the left and one in the right channel) and then select File - Export - Multitrack Mixdown - Entire Session, what I get is a mono mix in the left channel and a mono mix in the right channel. How can I export a multitrack mixdown and keep the stereo separation?

Thank you, Steve. Here is some more information.
Each channel of each stereo mp3 file contains one voice. The recording is an interview recorded using a telephone digital audio hybrid. My voice from a microphone is in the left channel. The voice from the telephone of the person interviewed is in the right channel.
For this particular interview, the recorder was stopped and restarted twice, resulting in three mp3 files. I want to make one mp3 file that includes all three segments, with a gap of silence between the segments so it is clear that some of the recording is missing.
I opened a multitrack session and put each mp3 file into a timeline, one after the other. In the multitrack time line, I can see the waveforms representing the left channel and the right channel.
When I select File - Export - Multitrack Mixdown - Entire Session, the result is a single mp3 file that has the left+right channel as a mono mix in the left channel, and the same in the right channel -- the left+right channel as a mono mix. The stereo separation that exists in the original mp3 files is lost in the multitrack session mixdown. Even though the mixdown is two-channel stereo, the left channel contains both my voice and the voice from the telephone. The right channel contains the same.
I have the Export Multitrack Mixdown dialog box open now, as I write this. Under MIxdown Options, there is a Change button. When I click the Change button, a Mixdown Options dialog box opens. Under Master, it has check boxes for Mono, Stereo and 5.1. When I check Mono, the result of the mixdown is a monaural mp3 file with the left and right channels combined. When I click on Stero, the result of the mixdown is the left+right channel in the left channel, and the left+right channel in the right channel. To put it another way, the left channel has a mono mix, and the right channel has a mono mix. The separation of my voice in the left channel and the person interviewed in the right channel is lost.
If there is a way to use the multitrack session to export an mp3 that maintains the stereo separation of the original mp3 files used in the session, I would be much obliged for your help in learning how.
Many thanks, and all the best to you.

Multitrack session import/export

So I've been using audition since it was CoolEdit back in the 90s, and nowadays I work in film. I was excited about the release of CS5 and downloaded a trial as soon as possible, but I'm quite disappointed. why? It's still impossible to move multitrack sessions around.
Quick recap of multitrack audio capabilities in Adobe products...
Audition loads/saves .ses and XML files, with the latter recommended for future compatibility. It doesn't import other XML files.
Soundbooth only saves stereo files, but can load/export the ASND format (new in CS3/4?) to embed multitrack info (which can then be reopened and edited in SB).
Premiere exports OMF and its successor AAF (popular multitrack project exchange formats) and imports the ASND format. It imports and export final Cut XML files, but not Audition XML files.
Premiere also lets you select any clip and open it for editing in Soundbooth or Audition. That's clip, singular. Select two audio clips and the option is greyed out.
Neither Bridge nor Dynamic link allow multitrack audio sharing.
Do you see the problem here? If you have a pile of multitrack audio clips in Premiere (like you would after editing a film) there is no way to get your audio timeline information, with many tracks and many clips, from Premiere into Audition or its little brother, Soundbooth
This is, frankly, a disaster.
Think about it: audition has by far the best forensic, analysis and editing tools of any DAW. But anyone using Premiere who needs to do fine-grained audio editing - because although Premiere is audio-friendly, it has its limits - is forced to export to something like OMF or AAF and then bring into Pro Tools (spit). You can create audio in Premiere and export it as audio tracks (with blank space) to Soundbooth, from where you can throw it back and forth between SB and Premiere to your heart's content.
But if you're editing a film (not a music video) then there is no way you would want to put the audio together in Audition or Soundbooth first, because 90% of the time it will be following the picture. You can get individual clips out of Premiere and into the others...but only one at a time, which defeats the entire purpose of post sound editing, where you are trying to blend together multiple clips from different takes. And even though Premiere offers multiple options for exporting all the clip information and even volume/pan and plugin data to standard platform independent multitrack formats, Adobe's audio tools can't read any of those files.
When is Adobe going to fix this? I'm sorry to say that I'm becoming embarrassed to tell people I prefer Audition, because everyone in the business knows it's hopeless for multitrack portability.
And I'm not saying this to be selfish - this problem is really, really hurting Adobe's sales of both Audition and Premiere. Avid owns Digidesign, maker of Pro Tools. I hate both, but from a logistic standpoint they're a great combination, it's pretty easy to get stuff out of Avid into PT, and of course both of them have 'tradition' on their side. Apple has Final Cut, and Soundtrack Pro (rather like Soundbooth) or Logic, for those who want more. I don't care for this platform either, but it's a viable solution. And here's Adobe, with a decent lightweight audio editor in Soundbooth and the best analytical/forensic audio tool - which is exactly what's needed for film post - in Audition.
And yet there is no way to get your audio timeline out of Premiere and into either of these tools, nor do either of them load any industry-standard multitrack file formats, nor are they even compatible with each other. I was looking at an Adobe TV episode earlier today where they take a music project from Audition to Soundbooth...by exporting the tracks as individual audio files, which are then added to a brand new Soundbooth project. This is just ridiculous. I mean, if I'm consulting for someone about audio post for a film project or to outfit a studio, how can I possibly recommend Adobe's products? Individually they're great, but in workflow terms, forget it. Anyone who needs to get things done will probably go for Pro Tools, and since Avid and FCP are both more widely used than Premiere they'll probably go for one of those too.
I really can't understand why the audio tools aren't integrated to the same degree as, say, After Effects. Premiere + AE is a winning combo, and yet audio is arguably even more important than color correction or VFX, as almost every film has a soundtrack and audiences are far more intolerant of poor sound than they are of visual shortcomings. Please, please fix this. I live in San Francisco, so I'm not far from Adobe's offices: I will happily donate a day or two of my time, and even supply a waiver of any claim in intellectual property, to answer any and all questions about audio workflow. I think I've learned a few things worth sharing over the course of 10 features and about 50 shorts. It's not a big deal for Adobe to fix.
Message was edited by: Anig Browl to add the following: there is a LOT of stuff I do like about CS5 - Premiere has not gained a ton of new features, but it has had a massive performance overhaul, and the new features that do exist are very useful. The same is true of several other packages - I wouldn't want this to be seen as a 'nothing's ever any good' rant. The sad thing is that it won't reach its full audience because of the inexplicable barrier that remains in place between the NLE and the multitrack audio environment.

I'm glad of these reports, and have been checking out AAT, which has potential. I do have some reservations about it, but this is not the place to critique helpful solutions; I'll limit myself to saying I'm a bit troubled by the obvious dependence on an old UI library and the conversion speeds, which seem slow for a task that is basically text-based (ie metadata manipulation). Look out for a follow up email, Michael, and thanks for your previous reply.
All the same, at bottom this is an Adobe problem - third party conversion utilities shouldn't be needed to move projects between Adobe's own software. It's a shortcoming of the CS4 & 5 suites, in that file-conversion approaches like that of AAT are necessarily destructive and thus preclude dynamic file exchange. I mean, would you buy a new car if the salesman said the fenders fall off above walking speed, but that you could fix the problem with $100 of duct tape?
Suppose, for example, one is polishing audio for a film, but audience tests or the director's opinion mandates a scene be cut, or (worse) lengthened. Making a change in the NLE would require export from Audition to a Premiere-compatible format (probably via AAT to AAF or FCP-XML, but see below), import to Premiere, consistency and compatibility checks, adjustment of the edit timeline as required, and subsequent re-export for conversion by AAT, import to Audition, followed by further compatibility and consistency checking - plus a separate render and media export of the video, since Audition can only handle a single video track.
While both hardware and sanity dictate that it's probably best to manage the project as a batch of single scenes or reels rather than moving an entire feature or TV episode at once, this process is likely to take at least an hour before audio editing can resume. In theory it should only require a few minutes for export, conversion, import, adjustment, re-export, conversion and re-import, but that process offers 6 stages for things to go wrong. Even if everything is usually fine, time-consuming sanity checks are still required, unless you like all-night emergency rescue sessions. In practice, a single small timeline change in the NLE may well be easier to accommodate by manually moving the audio in Audtion, and cross-checking the timecode in both applications.
When I started doing audio for film - back when it was film, and the audio was recorded on DAT or even analog tape - this was the norm and those skills still work. But it undermines the whole point of using metadata and products like Adobe Bridge for version management. This is not the fault of AAT in any way; it's just a fact that when your workflow involves export/import via third-party tools, you have to treat every such iteration as a separate project file and adhere to strict versioning and administration/backup practices even though these would be better performed by the computer. In a perfect world, we'd stick to a scheme whereby the editor locks the movie once and forever, the audio engineer and colorist work their magic on the soundtrack and the picture respectively, and then their efforts are united for the final master. But we don't live in such a world, and clients don't appreciate being told that changes which were easy and swift at an early stage are now either impossible or hugely time-consuming.
This is what I mean when I refer to being embarrassed to say Audition is my favorite editing tool. Most people want Pro Tools, because although it's expensive it's standard and the workflow is predictable. So that's what I end up using on a great many jobs; it's capable for most tasks, I'm good at it, and to be frank I can get paid a bit more for my ability to use it. The sad thing is that I can work better and faster in Audition, where things like the spectral editing, noise fingerprinting, and advanced filtering offer really amazing possibilities...but getting projects in and out of it are a terrible struggle. Soundbooth makes things marginally easier, but only marginally. I can see a possibility of rebuilding an audio timeline from Premiere using Adobe's Javascript Extensions, and then generating an audition-compatible XML file from there...but I can't say it looks like fun
As for exporting to AAF, Premiere CS5 has other problems. Many things can not be exported, like per-clip gain levels (because the Advanced Authoring Format doesn't properly support them, according to Premiere, although the protocol specification appears like it should). In any case, Premiere CS5 has trouble importing AAF; after exporting a short scene using all possible settings (normal, legacy, or normal with audio embedded), attempting to reload the exported file into a blank project causes an instant crash due to a kernel error (the import filter appears to launch a 32-bit process).
In any case, although AAF is still being developed it seems to be moving towards a BWF-style XML format, and most of AMWA's development seems concentrated in that direction. Final Cut XML appears to be the best solution, but this is (obviously) rather sad, and furthermore Premiere does not strip invalid data (eg >6.02dB gain, which Premiere clamps at +6 on import) from FCP-originated projects, but re-exports it - not an altogether bad thing for working with FCP partners, but not exactly optimal either.

Multitrack session not active?

Might be a dumb question but adobe not letting me open a file in the editor just pops up with an error saying "Multitrack session not active. Mixer controls are enabled only when a multitrack session is the active document"
Any ideas?
Using adobe Audition for Mac Beta.
Cheers
Ben...

If you check the dates on the original post, it's from about 3 years ago before the Audition for Mac was officially released, hence the desire to get all queries about that software in the one place.
Anyhow, that was then and this is now.
The only time I know you get that warning is when you attempt to use the Mixer view without having first set up a multitrack session--the mixer is inactive until you have a session to mix. The tabs to control Edit View vs Mixer view are at the top of that main window where you normally see waveforms or the mixer.
There are lots of ways to create a multitrack session...I guess the most basic is File--->New--->Multitrack Session. This will give you a dialogue window where you set up things like the title, the bit depth and sample rate, whether you want a stereo or mono master, that sort of thing. Alternately, just Edit--->Insert--->Into Multitrack Session which will give you a choice of existing sessions or the dialogue box to create a new one again.

Can Compressor downmix from stereo to mono?

Seemingly simple question - when compressing DV/AIFFs to web H.264/AACs, is there a way to downmix from stereo(dual mono) to mono without boosting the level?
I don't care if it just uses the left channel, the right channel, or mixes both together - I just want it not to clip 0dB when it comes out mono. Is there a way to do this in Compressor?
(NOTE: without using the Peak Limiter filter to lower the level, which always seems to cause the job to fail)

First you have to split up the interleaved stereo file->in the Audio bin select "copy/convert" (or hit control+c) in the menue select "Interleaved->split" and tick the box "add to Audio bin"
Now switch Audio track 1 to "Left" at the very bottom of the channel strip->long click into the stereo symbol->menue opens->select "left"
Do the same on Audio track 2 in this case choosing "right" at the bottom of the channelstrip
Now select the reimported split stereo file in the bin and split it up into two seperate files in the edit menue->"split selected Split-Stereo-file"
You now have created two independendent files for left and right and can drag those onto your Audio tracks 1/2 in the Arrange - of course you need to pan track 1 to the left and track 2 to the right to retrieve your original stereo image

Stereo to Mono question

Hello,
I am trying to convert a stereo clip that I already captured to dual mono.
Can someone please tell me how I can do this?
Thank you,
Oliver

After you edit it in a sequence, select it in the timeline window, and from the Modify Menu uncheck the stereo pair checkbox. OR pan both tracks to the center... (same thing). You could take a clip from the Browser, open it in the Viewer, and pan both tracks to the center too, then as you edit with it, it will be what you want...
Jerry

Can Compressor downmix from stereo (dual mono) to mono?

Seemingly simple question - when compressing DV/AIFFs to web H.264/AACs, is there a way to downmix from stereo(dual mono) to mono without boosting the level?
I don't care if it just uses the left channel, the right channel, or mixes both together - I just want it not to clip 0dB when it comes out mono. Is there a way to do this in Compressor?
(NOTE: without using the Peak Limiter filter to lower the level, which always seems to cause the job to fail)

I've been editing NLE for over 15 years and have never once used a "mono" track, never felt a need to, and Premiere tracks default to stereo normally, which matches my sources. All delivery is typically stereo anyway, so in the case you have with wanting to use just one mic, the Fill Left or Fill Right works perfectly to "Pan Center" so to speak. Hopefully this will suit your needs. Maybe I have tunnel vision and am not understanding how a mono track is uniquely useful, but always open to learning new things.
In the situation where I might need to switch mic sources from time to time within the same stereo clip, for instance a wedding with a shotgun and wireless lav, I just use the Razor to put cuts in the audio clip where I want to switch. I just alternate applying Fill Left or Fill Right to each cut segment as needed, and throw in an audio crossfade at the cut point for a smooth transition.
If I need to MIX the left and right channels in varying degrees of volume, I will duplicate the stereo track and apply Fill Left to one and Fill Right on the other and this has the same effect as two mono tracks, each centered. There's certainly many ways to accomplish the same thing with almost any aspect of editing and that's just how I do it, not wrong or right really.
Thanks
Jeff Pulera
Safe Harbor Computers

Re-Capturing Media with original settings but with Stereo not Mono Selected

Hi,
I am trying to re-capture about 17 hours of interviews that I just shot in Africa over the past month. It has all been digitized with the audio set to Mono instead of Stereo (in my jet lagged mindset I forgot to set to Stereo)! I need the stereo setting as I always had a wireless lav on the subject and a wired lav on the interpreter and I need to be able to split them out in the sequence. I have already built sequences with all the interviews and a timecode window burn for my client, which sounds fine for simple timecode logging, so I would like to reconnect so that all of those sequences will remain intact.
So when I try to go recapture, whether I delete the original clip OR just make it offline and save the new captured clip to a different location, it automatically captures in Mono, as that is what is set in the original clip under Audio Tracks in the browser. It will not let me change that setting in the Browser, and stereo is definitely selected under Audio Clip settings in Log and Capture.
I have to think there is a way to do this so that I can save my original clip information, without having to reset all new in and out points and recapture it all with the exact same name to a different drive so it works in my sequences.
I don't need to recapture the 18 or so hours of b-roll thank goodness! As it was all shot with a mono shotgun.
Also, when I go to recapture the clip a warning comes up and says I am trying to capture media shot in Non Drop Frame on a device set to Drop Frame..etc etc etc.
I did shoot in non drop frame but I have not changed anything on my deck (Sony DSR-11) and don't even think there is a switch to go between the two. If I try to simply capture a new clip I get no such warning? It seems to play fine regardless but I wonder if I will have issues down the road integrating the new clips in with the b roll.
Many Thanks,
Any help is greatly appreciated,
Peter Mallamo

If both tracks are in the sequence, then just select one side, and in FCP's Modify menu (audio submenu there), pan all to one side, then select the other track and pan all to the other... you can change the stereo to mono and mono to stereo too in that same menu... no need to recapture at all. Do this mono to stereo move simply by selecting the clips in the sequence, and checking on or off the stereo pair selection...
Jerry
Message was edited by: Jerry Hofmann

Stereo or Mono? Which? And why?

Once again I'm starting a new thread to explain some general audio principles that newbies have trouble with.
There's an issue here that's a bit difficult to explain--the difference between "stereo" and "mono".
You have two ears, so you hear "stereo". Your ears send a left signal and right signal to your brain. Your brain processes the difference between the two signals and gives you a sense of direction. You can figure out where the sound you are hearing is coming from.
Originally, recording technology only permitted mono recording. One microphone, and one speaker to play it back. When you listen to recordings made before about 1962, you are listening to a mono recording. If you have a modern stereo and you are playing back a recording from before 1962, you are getting signals out of your left and right speaker, but the signals are identical. You are just getting mono out of two speakers.
Originally "stereo" meant placing two microphones on something--one to represent what the left ear would hear, and one to represent what the right ear would hear.
However, when you take one microphone and plug it into a recording device, you can only record a mono track. Your recording device might permit you to record what you think is stereo, but in reality you are only recording two identical mono tracks.
A guitar also has a plug that comes out of it that sends a mono signal.
Nowadays we create fake stereo inside the recording device by means of what we call a digital reverb or digital delay. This device takes a mono input (such as from a single microphone or from a single guitar cord) and simulates the sound as if it were playing in a much larger room, with positional information included--placing something in a simulated position in the stereo field and creating a simulated left stereo channel and a simulated right stereo channel.
So if you record one input, and put no effects on it, you get mono. If you run it through a stereo reverb or a stereo delay, you get simulated stereo.
If you put an acoustic guitar in a large, reverberant room, and set up two microphones, one on the left side of the room and one on the right side of the room, and record the two mono mike signals to a stereo track on your digital recorder, then you get real live stereo.
When you play a software instrument in GarageBand, it records it as a stereo signal. What you are usually getting is in fact a monophonic sample that is processed through a stereo reverb, simulating stereo. In some cases, it may actually be a digitally sampled musical instrument that was sampled in stereo, with two microphones, like the example of the guitar in the reverberant room that I mentioned above. Software instruments of drum kits and acoustic pianos are examples of instruments that are usually sampled as real or artificial stereo to begin with.
Beginners think "stereo" is the right way to record, and "mono" is not. But this has nothing to do with the right way to record, and has nothing to do with wheter it's a high quality recording. If you are recording through only one microphone, or only one guitar cord, this is mono, and that's right.

Good points, Wheat. And when you record from several sources, and combine them and mix them, panning things to "set the stage" you get a stereo mix, of mono recordings. SI, the final result is stereo, not necessarily each individual piece of the recording. Of course, a drum kit can be recorded in stereo, as well as some keyboards that are actually stereo. But most things you hear on CDs are a compilation of mono tracks, panned to create the stereo image you hear.

Question about stereo vs. mono tracks. (Very basic, but appreciate help)

I’m still a little confused about Stereo Vs. Mono tracks when recording in Logic. (This might sound stupid, but I’m still getting confused by this stuff.)
When first recording a track, do you guys usually do it in mono or stereo?
Secondly, I’m still confused about the benefits or stereo tracks. Why not just record mono and then pan a track left or right when mixing? I’m just not getting the concept of stereo recording. I know these are very basic questions, but I’ve read numerous books and I’m still a little in the dark on this. Thanks for the help!

Most of the things I record are done on mono tracks. Each piece of a kit goes to its own channel, then I pan things accordingly later (Overhead L & R, etc.).
You only need to record in stereo if you actually have a source that is stereo, i.e. a keyboard with stereo fx and L&R outputs, but even then I usually just set up two mono tracks, one for L and one for R. I would do a similar thing if I was using a stereo pair to mic something.
You can always make a mono track stereo later as well using a variety of plug-ins.

Stereo vs mono in garage band?

This may sound like a dumb question, I thought I knew about stereo vs mono all my life, but I don't. Even though I have been a full time professional musician all my life.
I just conected my new firepod to garage band 3. It works great.
1. But I am finding I can select channels 1&2 stereo, 3&4, 5&6, etc. However it won't let me activate the red record button on 2, 4, 6, etc since it tells me it's all ready chosen.
2. I understand I can simultaneously record 4 stereo tracks or 8 mono tracks
(5 and 10 if you include the line in on the back)
My problem is that the mics are mono. ( I don't have sereo mics) So when I select stereo am I really getting stereo? If not, can I record in mono and select stereo afterwards? Or duplicate the mono track and pan one slightly left or right. I know that is not true stereo but I can't really say why.
example problem: Upright piano with two mics, one near the bass end one near the high to middle. Does this need to take up 4 of my firepon inputs to have them be stereo? Can 1 mic be channel 1 and the other be channel 2?
Currently It won't let me unless they are selected as mono tracks.
Will someone please enlighten me?
thanks
Powerbook G4 Mac OS X (10.3.9)

You only use the stereo settings for a stereo source. Your mics are not stereo, therefore you should select MONO. You will then get a track that you can pan anywhere in the stereo spectrum you like, which is what you really want. Once you are done recording several tracks, and mix them, panning them where you like them, the "mix" will be stereo. Your "tracks" should always be mono, unless you have something like a stereo keyboard.

Is it possible to output multiple clips from a multitrack session, at the same time?

I'm using Audition CC 2014.2
on Windows 7 Pro x64
I am trying to figure out how to output several clips from a multitrack session, at the same time.
A session like this:
Is it possible to output 5 files right now?
I can select each one (or even multiple) and use File > Export > Multitrack Mixdown > Selected Clips to do one at a time only.
I'm hoping for a way to give each clip (or group of clips) a predefined filename, by perhaps using markers or something like that, which would then allow me to faster "automate" the exporting of each section into a different sound file.
This ability would be really helpful when using a single multitrack session to generate multiple sounds and a change to globally applied effects is made and all sounds now need to be updated.
Any ideas?

They are, yes, but I'm also working with multitrack sessions using clips made from various different sound files.
Ahh ok, use markers?
So, this sort of thing isn't possible in multitrack mode then?
If not, it sounds I'll have to "mix down" my multitrack session into a single file and set up the markers in Waveform Edit view.
That's an extra step I'd have to do, and after editing the multitrack session, surely some markers . . . oh wait, no . . . every time I output the new mix down file from the multitrack I'd need to redo all the markers. Drat . . .
Honestly, I am very new to Audition, but I'm about to plow into it, big-time, and I'm hoping for a nice non-destructive and fast workflow that'll enable me to output sets of sounds from the same multitrack session.
But, it seems like this functionality is currently missing.

Appcrash with multitrack sessions in Audition CS6 on a MacBook Pro with Windows 7

This is an issue with multitrack sessions different from 44100 Hz in Audition CS6 (as part of a Premium Suite CS6). While multitrack sessions with a sampling rate of 44100 Hz works normally (as long as I use clips with 44100 Hz) any other sampling rate causes an APPCRASH (s. below). Also with the insertion ( in a 44100 Hz multitrack session, of course) of any clip with a sampling rate different from 44100 Hz, the programme crashes in the moment it's going to generate a adapted copy for the multitrack timeline.
Audition is installed on a MacBook Pro Retina 15" ,Mid 2014, Model 11,3, Intel Core i7 4870HQ 2,5 GHz, 16GB RAM with Windows 7 SP1.
I tried all advices of the Adobe troubleshooting site and some of the community.
Especially:
- the simplified mode with user-defined system start
- deactivated user account control
- new user account
- deactivated data execution prevention (DEP)
Also the use of different audio interfaces affords no effect:
- build in Cirrus Logic CS4208 with MME drivers
- Motu UltraLight mk3 hybrid via USB with Asio drivers.
In spite of an extensive search I can't find any similar case in the net.
So, please, can you help me?
Sorry, it's a german version of windows 7:
Problem signature
Problemereignisname:    APPCRASH
Anwendungsname:   Adobe Audition CS6.exe
Anwendungsversion:    5.0.2.7
Anwendungszeitstempel:           505806ee
Fehlermodulname:    StackHash_0a9e
Fehlermodulversion: 0.0.0.0
Fehlermodulzeitstempel:           00000000
Ausnahmecode:        c0000005
Ausnahmeoffset:       45ef2b00
Betriebsystemversion: 6.1.7601.2.1.0.256.48
Gebietsschema-ID:   1031
Zusatzinformation 1:    0a9e
Zusatzinformation 2:    0a9e372d3b4ad19135b953a78882e789
Zusatzinformation 3:    0a9e
Zusatzinformation 4:    0a9e372d3b4ad19135b953a78882e789

I'm afraid you are right. At the worst I'm more than 50% of the audition users on a mac with windows.To solve the problem within a passable time I would like to change to the mac version of audition. But unfortunately it's impossible to use the mac version with a windows licence. And CS6 licences (mac audition) are not longer available (only at a moon rate).
Because of the weekend we can pass the time with the latest news of my trouble-shooting.
The crash is not only within the multitrack session but also within the waveform view: when I try to change the sampling rate (Edit -> Convert Sample Type) the programme crashes with the same problem signature. And here it crashes with all sampling rates , including 44.1k audio files. On the other hand I can play all sampling rates within the waveform view.
I compared the logfile from the predecessor of the MacBook , a LG Notebook with windows vista and a working Au CS6 with the current logfile of the Mac: They are identical at the beginning and at the end (termination sequence). But after " Initializing AuScripting" there is a "DLMS 6.0x39 FileServer startup code: 0" and the listing of a couple of codecs in the Notebook logfile - but not so in the Mac logfile.
Also the logfile of my workstation with a working Au CS6 shows this "DLMS 6.0x39 FileServer startup code" - line. Because of the two working and one crashing computer this part of the logfile seems to be important ??
Logfile audition predecessor (Notebook) - detail
A blank line is only to arrange the logfile more clearly - it doesn't stand for missing lines.
Ticks = 60014      <4068> <AuLog.DisplaySurface> <5>     Initialize PRM
Ticks = 60014      <4068> <AuLog.DisplaySurface> <5>     Initialize DS
Ticks = 60076      <4068> <AuLog.DisplaySurface> <5>     DS Initialize succeeded
Ticks = 60076      <4068> <AuLog.DisplaySurface> <5> Video Panel is using the Display Surface
Ticks = 64304      <4068> <AuLog.Startup> <5> Initializing AuScripting
Ticks = 86191      <3796> <AuLog.Plug-in> <5> DLMS 6.0x39 FileServer startup code: 0
Ticks = 86191      <3796> <AuLog.Plug-in> <5>     AVI Movie (*.avi)
Ticks = 86191      <3796> <AuLog.Plug-in> <5>         *.AVI
Ticks = 86191      <3796> <AuLog.Plug-in> <5>     FLV (*.flv)
Ticks = 86191      <3796> <AuLog.Plug-in> <5>         *.FLV
Logfile MacBook Pro - detail
Ticks = 3510      <3976> <AuLog.Startup> <5> AuUI initialization sequence complete.
Ticks = 3869      <3976> <AuLog.DisplaySurface> <5>     Initialize PRM
Ticks = 3869      <3976> <AuLog.DisplaySurface> <5>     Initialize DS
Ticks = 3900      <3976> <AuLog.DisplaySurface> <5>     DS Initialize succeeded
Ticks = 3915      <3976> <AuLog.DisplaySurface> <5> Video Panel is using the Display Surface
Ticks = 4493      <3976> <AuLog.Startup> <5> Initializing AuScripting
Ticks = 22948      <3976> <AuLog.Plug-in> <5> Loading AMIO plug-in: AmioWav
Ticks = 22948      <3976> <AuLog.Plug-in> <5> Audition Wave Amio-Plug-In. ID: 60df8553-00c8-4fd7-8a07-6f25e30ab79c
Ticks = 45958      <3976> <AuLog.Shutdown> <5> AuUI termination sequence started...

How to cut part of multitrack session to new session in Abode Audition 3.0?

I record live performances in Adobe Audition 3.0's multitrack feature, which are about an hour long. When I highlight a section of a set of four tracks (containing one of the songs I want to save out), I cut it, and paste each track into a new session. However, it looks like all I'm doing is pasting the *whole* thing, with just a section showing.
Is there an easy way to create a session in Audition that contains *just* the portion I'm highlighting? Having to copy the entire hour long performance for each song is eating up a lot of storage space. There must be a way to "trim" the copy so that the raw files associated with it *only* contain the song I'm looking for...?
I suppose I could find out the beginning/ending times I need, highlight that portion in the first track in track view, trim it, and save it, repeat for all four tracks, and then load them all into a new session, but it seems like there must be an easier way?
Thanks in advance... Still getting the hang of multi-track recording in Audition!

Sorry to necro this thread, but in case anyone is looking for these sorts of solutions again it may be useful to share my own method(s). I am often faced with this process, and will do the splitting process before I do anything else, this is important for me so I can keep the original files untouched. I am assuming you already have the base multi-track session open and tracks set up. This should work for most version of AA but instructions are based on CS6 (I have CEP, AA3 and CS6 on my machine).
Method A:
1. Select the time the excerpt you want covers.
2. Go to File>Export>Multitrack Mixdown (or right click on the selection and choose Export>Time selection)
3. Select the format you want your tracks to be in - you can leave this as is to use the same as source, or convert to 48k-24bit for DVD or 44k-24bit for CD at this point (the earlier the better). This will be the same as the new session you will create later. Make a new folder for the session audio somewhere and choose that as the destination.
4. Select the Mixdown options [Change] and check each track individually, you can uncheck the master track unless you also want a reference track.
5. Ok all this and wait for export to finish.
6. File>New multitrack session, then create a new session in the folder you created when exporting the audio.
7. Drag and drop the exported tracks to the new session.
8. Finished.
Method B:
1. Create a new session, keeping the original open, make sure the original is the active document.
2. Select the time the excerpt you want covers.
3. Press CTRL-A to select all clips
4. Edit>Copy, flick to new session, Edit>Paste.
5. This creates only the time selections cut out from the ORIGNAL clips, we need to make unique ones, so...
6. You now have, non-unique copies of the whole tracks (the session is referencing the original files), so you need to double click each wave and trim them and make them unique. Once in waveform view, right-click>select current view time then right-click>Copy to new.
7. repeat 6 for each clip, delete the existing clips and drag the new trimmed clips from the files panel tab to the session.
8. finished.
Method A is better for large sessions, but B can be quicker when you just have a couple of tracks and your originals aren't huge.
I'd love a Copy time selection to new session feature that also make new clips...

Switching from stereo to mono...

is there a way i can switch from stereo to mono for recording volcals in garageband?if so...how??thanx much

In the Track Info window where you select your instrument or preset, you can also select the channel through which you record - either one channel (mono) or two (stereo). Set it to one channel.

Stereo or Mono Multitrack session & Panning

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