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So far, we've looked at how to adjust the volume level of individual tracks using the Volume Dial on each of the tracks here in the Multitrack View. And we also saw that you can do this by going to the Mixer, and adjusting the faders here. Both really do the same thing. But you're not always going to want to have certain tracks be the exact same level throughout the entire song or project you're working on. I'm still working in this Breakdown Mode song. So let's go to this Guitar 1 track here for this example. I'm just going to solo that up. Now, you have probably already noticed these horizontal lines that run across all the clips and the tracks.
These are called Automation Envelopes, and they allow you to make changes to the volume and if it's a stereo song the panning as well, and you're adjusting both over time. That's really very easy to do. First of all, if I want to bump the clip's volume up or down, I can click and grab this yellow line--that's the Volume Envelope--and drag it up or down. That increases or decreases the volume of the entire clip, but it doesn't alter the volume settings on the track controls. This might be useful if you have multiple clips that have different volume levels sitting on the same track. You can use the Volume Envelope to bring the level of the clips more in line with each other.
I am just going to drag this back until it snaps at 0 db again. Now, this is the default behavior and appearance of Automation Envelopes. But just in case you don't see this Yellow Line, click here where it says Volume on this clip and just make sure nothing here is checked. That will ensure that you see the Volume Envelope. Now, if you want to automate volume changes in a track, all it requires is for you to click the point on the line where you want the volume to change. Maybe right after the guitar starts playing in this track, I'd like it to gradually increase in volume. So I will click on the volume line at the point where I want the change to start happening. That's a little dot called a keyframe.
Now, I just click the point where I want the volume change to be complete, and drag it up to where I want the volume to be at that point. Let's give that a listen. (music playing) So you should have been able to hear the increase in volume there. Now, by looking at the Volume Line, I can also see that the volume will remain at this increased level throughout the rest of the clip. I want it to drop back down to its original level of 0 db after this first section is done.
So I'm just going to add another keyframe, and drag it down right there, and again, it snaps to 0 db. Now, this is a gradual decrease in volume as you can tell by looking at the Volume Envelope Line. If I wanted it to be more abrupt, I just, yup, add another keyframe. I'm going to drag that up and line with the other one, and now I will have a much faster drop in volume level. Let's listen again. (music playing) So, it increases there. I'll just jump ahead.
(music playing) And it drops back down here. (music playing) And you're free to move existing keyframes around to make adjustments. So if I want that to be a little bit more gradual, I can drag that left, or you can right-click on keyframes and delete them. Now, while you're in here, you'll also find Hold Keyframe. Let me actually show you what this looks like by clicking on this one. I'll choose Hold Keyframe. So, instead of a gradual change between keyframes, it keeps the volume level where it is until the next keyframe comes up, and then it immediately changes.
So, you can see it will come up to this level, stay at that level until the next keyframe and then immediately drop down. You'll also find Spline Curves which changes the transition to more of a gradual curve. I will just hit Undo a couple of times here. So that's one way of automating your volume to have a change at specific times during playback. Now, as I mentioned, the other line here is the Panning Envelope. There maybe times when you want some audio to travel from the left to right channel to the opposite side during playback. Again, you can just grab the line if you want to change the panning for the entire clip. Let's go ahead and play some of this for you again.
(music playing) That's panned left. (music playing) That's panned far right. But you can also click to add keyframes. So maybe I want to get this part of the track to bounce from side to side. I just add a bunch of points, and drag them up and down. Here, we'll go left, here we will go right, left, right, and so on. So if you're wearing headphones, you should really be able to hear the difference here.
(music playing) Moving from left to right, back to left. (music playing) And notice this is having no effect on the panning knob here. Again, this is a clip-specific change I've made. And this really only does work if you have this main Pan Knob centered. If I mute this track, and I solo up this other track beneath it, you can see this one is panned hard to the left. And notice you won't be able to hear anything when I drag the Pan Line down to the right channel. (music playing) So again, this Panning Envelope will really only do its job if you have the pan of the track set to center.
Let's go back to that main guitar track again. So these Envelope Lines you see in the clips are clip based changes. Audition does however give the ability to automate changes to volume, panning, and other settings to the track itself. This might be useful if you have multiple takes of the same performance, and you want to swap a few changes in and out to see which one you like better while maintaining the same volume and panning settings. If you set the volume or panning changes to the track, those changes will occur at exactly the same time to whatever clip you drag into the track. I'm just going to get rid of these keyframes right now by right-clicking on both envelope lines, choosing Select All Keyframes, and then Delete Selected Keyframes and I'll do the same thing with the Volume Envelope.
Now, I'm going to click this little Toggle Arrow here. It reveals this Show Envelopes menu and also displays another section of the track where you can see another Envelope Line. These work the exact same way as the clip-based envelopes, but these apply to the entire track. From the Show Envelopes menu, you can choose to show Volume and Panning like before to give us two lines. But you also have the ability to have Mute Envelope Lines, Track EQ from which you can have one of several preset EQ settings that you'll be able to bring up and down in the track, as well as Rack Input, Output, Mix, and Power.
Let's just keep Volume and Pan selected for now, so we can see how similar they are to their clip based counterparts. I'm also going to expand this track a little bit so I can reveal one more menu here. So we can choose which envelope we want to work with using this menu to select Volume or Pan or which other envelopes we have activated, but it also works if you just click and drag on the lines too. So there's Pan. Now, I added a keyframe there, so I'm just going to undo. But you can see I can switch to Volume and do the same thing. But again, that adds a keyframe, just undo that for now. So, if I want to automate the volume for this track, I just click to add keyframes like I did before and move them around.
So previously, I had something like this. Let me actually just shorten this a little bit so you can see it actually doing something, because notice when I play this now, you will actually see the Volume Knob moving as I play the track. (music playing) And there it's dropping again.
Now the same thing applies if I switch to the Mixer panel now. I'll find my guitar track, there it is. So watch the fader here! (music playing) Now, it starts to coming down. (music playing) And eventually, it will reach to 0 again.
Now, when working with track based envelopes, you get a couple of more tools down here as well. You can use these arrows to jump forward or back to the next or previous keyframes. This Keyframe button here in the middle allows you to add new keyframes wherever the playhead currently is, or if there's one already there, you can Click to remove it, like so, or I can click to add it back. Now, it doesn't add it in the same location because I just added a default keyframe there, but I'm free to move that anywhere I want to. We also have this button here to clear all the keyframes. Now, that only applies to the currently selected envelope.
Clicking that now will remove all keyframes from my volume envelope but not from say the pan envelope if I had already added keyframes to it. Now, there's also a Lock button to protect the parameter from being written to when recording automation. Now, what does that mean, Recording Automation? First, notice this menu here is set to Read. Every track has this Read menu. Read means this track is going to read and apply whatever automation has been specified. If you want to hear your track without the automation envelopes applied, just select off. Then when you play back, none of the envelopes will have any effect.
The track will then play whatever the current volume and pan settings are. Now, below Off and Read, we also have Write, Latch, and Touch. These are new capabilities to Audition CS6. These are options that let you create envelope points on the fly during playback. Sometimes you want your volume or pan changes to happen very precisely and clicking to add keyframes along the envelope isn't the most precise way of specifying changes. More often than not, you'll want to be actively adjusting the volume or pan or other envelope settings while you're actually listening to your song or project. Now, at first glance, it's hard to tell the difference between what Write, Latch, and Touch do. So here is the rundown.
They all work while playing the song, and they record what you're doing by adding the appropriate keyframes to the Volume or Pan envelopes. So Write overwrites all changes that have previously been made. So with the Volume envelope selected, I'll start playing the track over the part where I've already made some keyframes, and I'm going to move the Volume Knob around. (music playing) Now, as you can see, that adds a lot of keyframes because it's capturing each incremental change in volume.
Notice also that it overwrote the changes that I had there before. I didn't get as far as these last two keyframes, so it kept those there, but if I had allowed this to roll, it would have written over those keyframes. I'm going to undo that. Now, notice this has also switched to Touch. We'll come back to Touch in just a moment. We'll switch over to Latch for now. And I actually clipped it while I was playing with the volumes here. Let's undo that. Now, like Write, Latch also captures what I'm doing, but it doesn't change what's already there as long as I'm not making an active change over an existing keyframe. To demonstrate this, I'm going to move the playhead back to before that first keyframe again, and I'm not going to make any changes until after those first two keyframes.
(music playing) So you can actually see the dial continuing to move here. Still going down, and then we want to drop it down real fast, and then back up. And maybe there again, and notice it stays there with the last place I set it to. So you can see it kept my original keyframes in place until the point where I actually started making volume changes. If I've had this in Write mode, it would have overwritten those first two keyframes whether I had made any changes to that point or not.
So Latch adds on to the envelope without overwriting what's there unless you deliberately make a change over an existing keyframes. Again, let me undo that. The last selection we have here is Touch. It's good for adding finishing touches to the envelope if you just nudge things a little in one direction or another. It works by returning the Volume, Pan or whatever to what the line dictates as soon as you release the knob. Watch as I play this track. I'm going to nudge the volume and as soon as I release the knob, it will go back to where the envelope line specifies.
(music playing) So, this might be useful when you're mixing if there are certain parts of the recording that just need a slight and temporary boost. You could graph out the Volume Envelope for the overall track first, then switch to Touch to bring up specific parts at specific times, and whenever you release your mouse, it will jump back down to your original graph. But for now, I'm just going to clear all the keyframes, close that area, set it back to Read.
That's how to work with the new Automation Tools in Audition CS6.
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