1 Correct answer
This is simple. Assuming that you don't want to lose the original (you don't!), then use the active channel selectors at the RHS of each track to turn off all of the channels you don't want. Now Select All, Copy to New, and save the result. You will have just the three channels in the resulting file. Looks like this:
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This is simple. Assuming that you don't want to lose the original (you don't!), then use the active channel selectors at the RHS of each track to turn off all of the channels you don't want. Now Select All, Copy to New, and save the result. You will have just the three channels in the resulting file. Looks like this:
In Adobe Audition Wellenform kann ich nur Track 1 und 2 abhören und nicht 3 und 4 … Wie kann ich alle Tracks in Wellenform einzeln abhören?
Yes you can - but you have to change the routing of each channel. As it stands, in Waveform view you can only play two channels, but there is nothing to stop you allocating those channels alternately to the only ones that will play, which appear to be 1 and 2. But you can't do this! What you have to do instead is reallocate each channel either to Left or Right. You do this by right-clicking on the selector button, and you will get a display like this:
What is different about this is that you can make the same selection multiple times, and all of the channels you've allocated will play onto either Left or Right:
elfim77783075 wrote
Dear Jive,
The recording with the Lectrosonic and the dpa microphone has too many low frequencies and too few high frequencies. The man's voice sounds too dull. I think you can edit it in Audition, but you don't know how.
This is what Equalization is for. Often a good approach is to use the Parametric EQ, but you have to listen to the result whilst previewing it first before applying it. The reason for this is that all of these sort of issues are unique - there's no single correct solution to them. A suitable starting point though might be something like this:
The lower frequencies are reduced, and the higher ones boosted. If you make changes, then it's reasonably important that you stick to the 0.7 Q settings, as these have a minimal effect on the 'phasiness' of the sound, and generally work best for this sort of application.
elfim77783075 wrote
What does stick to the 0.7 Q mean?
This is all about how abrupt the changes in frequency response are. Have a look at this:
On the number 2 filter setting, I have left the Q setting at 0.7, and you will see that the slopes down to and up from the low point of 194Hz at -6dB are fairly gentle. This has the effect of causing a gradual change in the response, and if you are doing an overall correction, it's the approach that generally sounds best, certainly with speech.
On the number 3 setting, I have increased the Q value to 10, and this means that the change with frequency is a lot more abrupt, so it will emphasise one frequency particularly - which is not what you'd want to do with speech at all. In fact you'd be far more likely to use this to remove a particular frequency rather than boost it - having a boost like that generally wouldn't do any good at all to most signals, so really it's only there to demonstrate the difference.
So if you stick to low Q values, you are far more likely to be able to create a sloping response - which is what you will need to correct too much bass and not enough high frequency response.
The quickest way to do this is to pop down the little triangle (next to the file) in the Files window. Then right click on the track you wish to extract and click Extract Channels to Mono Files. You can hold down Ctrl/Cmd and select multiple channels if you like too.
See this screen shot for a visual explanation:
Thanks Steve! I was adding some thoughts based on the topic title however it looks like this topic is already covered well 
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