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Time and pitch manipulation effects

  1. Audition User Guide
  2. Introduction
    1. What's new in Adobe Audition
    2. Audition system requirements
    3. Finding and customizing shortcuts
    4. Applying effects in the Multitrack Editor
    5. Known issues
  3. Workspace and setup
    1. Control surface support
    2. Viewing, zooming, and navigating audio
    3. Customizing workspaces
    4. Connecting to audio hardware in Audition
    5. Customizing and saving application settings
    6. Perform Mic Check (Beta)
  4. Digital audio fundamentals
    1. Understanding sound
    2. Digitizing audio
  5. Importing, recording, and playing
    1. Multichannel audio workflow
    2. Create, open, or import files in Adobe Audition
    3. Importing with the Files panel
    4. Extracting audio from CDs
    5. Supported import formats
    6. Navigate time and playing audio in Adobe Audition
    7. Recording audio
    8. Monitoring recording and playback levels
    9. Remove silences from your audio recordings
  6. Editing audio files
    1. Edit, repair, and improve audio using Essential Sound panel
    2. Session Markers and Clip Marker for Multitrack
    3. Generating text-to-speech
    4. Matching loudness across multiple audio files
    5. Displaying audio in the Waveform Editor
    6. Selecting audio
    7. How to copy, cut, paste, and delete audio in Audition
    8. Visually fading and changing amplitude
    9. Working with markers
    10. Inverting, reversing, and silencing audio
    11. How to automate common tasks in Audition
    12. Analyze phase, frequency, and amplitude with Audition
    13. Frequency Band Splitter
    14. Undo, redo, and history
    15. Converting sample types
    16. Creating podcasts using Audition
  7. Applying effects
    1. Enabling CEP extensions
    2. Effects controls
    3. Applying effects in the Waveform Editor
    4. Applying effects in the Multitrack Editor
    5. Adding third party plugins
    6. Notch Filter effect
    7. Fade and Gain Envelope effects (Waveform Editor only)
    8. Manual Pitch Correction effect (Waveform Editor only)
    9. Graphic Phase Shifter effect
    10. Doppler Shifter effect (Waveform Editor only)
  8. Effects reference
    1. Apply amplitude and compression effects to audio
    2. Delay and echo effects
    3. Diagnostics effects (Waveform Editor only) for Audition
    4. Filter and equalizer effects
    5. Modulation effects
    6. Reduce noise and restore audio
    7. Reverb effects
    8. How to use special effects with Audition
    9. Stereo imagery effects
    10. Time and pitch manipulation effects
    11. Generate tones and noise
  9. Mixing multitrack sessions
    1. Creating remix
    2. Multitrack Editor overview
    3. Basic multitrack controls
    4. Multitrack routing and EQ controls
    5. Arrange and edit multitrack clips with Audition
    6. Looping clips
    7. How to match, fade, and mix clip volume with Audition
    8. Automating mixes with envelopes
    9. Multitrack clip stretching
  10. Video and surround sound
    1. Working with video applications
    2. Importing video and working with video clips
    3. 5.1 surround sound
  11. Keyboard shortcuts
    1. Finding and customizing shortcuts
    2. Default keyboard shortcuts
  12. Saving and exporting
    1. Save and export audio files
    2. Viewing and editing XMP metadata

Automatic Pitch Correction effect  

The Automatic Pitch Correction effect is available in both the Waveform and Multitrack editors. In the latter, its parameters can be automated over time using keyframes and external control surfaces.

Choose Effects > Time and Pitch > Automatic Pitch Correction, and set the following options:


Specifies the scale type that best suits the material: Major, Minor, or Chromatic. Major or Minor correct notes to the specific key of the music. Chromatic corrects to the nearest note regardless of key.


Sets the intended key for corrected material. This option is available only if Scale is set to Major or Minor (because the Chromatic scale includes all 12 tones and isn’t key‑specific).


The combination of scale and key determines the key signature.


Controls how quickly Adobe Audition corrects the pitch toward the scale tone. Faster settings are usually best for notes of short duration, such as a fast, staccato passage. An extremely fast attack can  achieve a robotic quality, however. Slower settings result in more natural‑sounding correction on longer sustaining notes, such as a vocal line where the singer holds notes and adds vibrato. Because source material can change throughout a musical performance, you can get the best results by separately correcting short musical phrases.


Defines the threshold beyond which notes aren’t corrected. Sensitivity is measured in cents, and there are 100 cents per semitone. For example, a Sensitivity value of 50 cents means a note must be within 50 cents (half a semitone) of the target scale tone before it is corrected automatically.

Reference Channel

Choose a source channel in which pitch changes are most clear. The effect analyzes only the channel you choose, but applies the pitch correction equally to all channels.

FFT Size

Sets the Fast Fourier Transform size of each pieces of data that the effect processes. In general, use smaller values for correcting higher frequencies. For voices, a setting of 2048 or 4096 sounds most natural. For short, staccato notes or percussive audio try a setting of 1024.


Specifies the tuning standard for the source audio. In Western music, the standard is A4 at 440 Hz. Source audio, however, may have been recorded using a different standard, so you can specify A4 values from 410 to 470 Hz.

Correction meter

When you preview audio, displays the amount of correction for flat and sharp tones.

Manual Pitch Correction effect

The Manual Pitch Correction effect lets you visually adjust pitch with the Spectral Pitch Display. The Spectral Pitch Display shows the fundamental pitch as a bright blue line, and overtones in yellow to red hues. Corrected pitch appears as a bright green line.


You can visually monitor pitch at any time, without using the Manual Pitch Correction effect. Simply click the Spectral Pitch Display icon in the options bar. To customize resolution, decibel range, and gridlines, adjust Pitch Display settings in the Spectral Displays preferences.

  1. Choose Effects > Time and Pitch > Manual Pitch Correction.

  2. In the Manual Pitch Correction window, set the following options:

    Reference Channel

    Choose a source channel in which pitch changes are most clear. The effect analyzes only the channel you choose, but applies the pitch correction equally to all channels.

    Spline Curves

    Create smoother transitions when using envelope keyframes to apply different pitch correction over time.

    Pitch Curve Resolution

    Sets the Fast Fourier Transform size of each piece of data that the effect processes. In general, use smaller values for correcting higher frequencies. For voices, a setting of 2048 or 4096 sounds most natural, and a setting of 1024 creates robotic effects.

  3. In the Editor panel, do either of the following:

    • To change pitch uniformly, drag the Adjust Pitch knob in the heads-up display.
    • To change pitch over time, add keyframes to the yellow envelope line in the center of the waveform display.

    To zoom in on specific pitch ranges, right-click and drag in the vertical ruler to the right of the Spectral Pitch Display. To reset the zoom level or customize the displayed scale, right-click the ruler and select options from the pop-up menu.

Pitch bender effect  

Use the Pitch Bender effect to change the tempo over time to vary the pitch. The effect now uses a keyframe edit envelope laid across the entire waveform, similar to the Fade and Gain Envelope effects.

Choose Effects > Time and Pitch > Pitch Bender, and set the following options:


In the Editor panel, click the blue envelope line to add keyframes, and drag them up or down to change amplitude. To quickly select, reposition, or delete multiple keyframes, see Adjust automation with keyframes.


Select the Spline Curves option to create smoother, curved transitions between keyframes, rather than linear transitions. See About spline curves for graphs.


Controls the quality level. Higher quality levels produce the best sound, but they take longer to process. Lower quality levels produce more unwanted harmonic distortion, but they take less time to process. Usually, you won’t notice harmonic distortion for levels from Very Good and higher. Aliasing still occurs, however, when you shift the pitch up, but the higher quality levels greatly reduce the distortion when you shift the pitch down.


Sets the scale of the vertical ruler (y-axis) as semitones (there are 12 semitones to an octave) or as beats per minute. For a range in semitones, the pitch changes logarithmically, and you can specify the number of semitones to shift up or down. For a range in beats per minute, the pitch changes linearly, and you must specify both a range and a base tempo. You can specify the exact tempo of a selection to change to different rates, but this isn’t required.

Pitch shifter

The Pitch Shifter effect changes the musical pitch. It's a real-time effect which can be combined with other effects in the mastering rack or the effects rack. In the Multitrack View, you can also vary pitch over time by using automation lanes.

Choose Effects > Time and Pitch > Pitch Shifter effect, and set the following options:

Pitch Transpose

Contains options that adjust pitch:

  • Semi-Tones Transposes pitch in semi-tone increments, which equalmusical half-notes (for example, the note C# is one semi-tone higher than C). A setting of 0 reflects the original pitch; +12 semi-tones is an octave higher; -12 semi-tones is an octave lower.
  • Cents Adjusts pitch in fractions of semi-tones. Possible values range from -100 (one semi-tone lower) to +100 (one semi-tone higher).
  • Ratio Determines the relationship between shifted and original frequency. Possible values range from 0.5 (an octave lower) to 2.0 (an octave higher).


Determines sound quality, with theHigh setting taking longest to process. Use the Low setting for 8-bit or low-quality audio, and use the High setting for professionally recorded audio.


To quickly determine which Precision setting to use, process a small selected range at each setting until you find the best balance of quality and processing time.

Pitch Settings

Control how audio is processed:

  • Splicing Frequency Determines the size of each chunk of audio data. (The Pitch Shifter effect divides audio into very small chunks for processing.) The higher the value, the more precise the placement of stretched audio over time. However, artifacts become more noticeable as values go up. At higher Precision settings, a lower Splicing Frequency may add stutter or echo. If the frequency is too high, sound becomes tinny and voices have a tunnel-like quality.
  • Overlapping Determines how much each chunk of audio data overlaps with the previous and next ones. If stretching produces a chorus effect, lower the Overlapping percentage. If doing so produces a choppy sound, adjust the percentage to strike a balance between choppiness and chorusing. Values range from 0 to 50%. 
  • Use Appropriate Default Settings Applies good default values for Splicing Frequency and Overlapping.

Stretch and Pitch effect (Waveform Editor only)

The Time And Pitch > Stretch And Pitch effect lets you change the pitch of an audio signal, the tempo, or both. For example, you can use the effect to transpose a song to a higher key without changing the tempo, or you can use it to slow down a spoken passage without changing the pitch.


This effect requires offline processing. While it is open, you cannot edit the waveform, adjust selections, or move the current-time indicator.


Choose IZotope Radius to simultaneously stretch audio and shift pitch, or Audition to change stretch or pitch settings over time. The iZotope Radius algorithm requires longer processing but introduces fewer artifacts.


Higher settings produce better quality but require more processing time.

New Duration

Indicates how long the audio will be after time-stretching. You can either adjust the New Duration value directly, or indirectly by changing the Stretch percentage.


If you commonly stretch files to a certain duration, click the Favorite icon  to save that setting for future use. To apply a favorite to multiple files, see Batch process files.

Lock Stretch Settings to New Duration

Overrides custom or preset Stretch settings, instead calculating them from duration adjustments.


Select the option above to quickly make radio spots 30 or 60 seconds long.


Shortens or extends processed audio relative to existing audio. For example, to shrink audio to half its current duration, specify a Stretch value of 50%.

Pitch Shift

Tonally shifts audio up or down. Each semitone equals one half‑step on a keyboard.

Final Stretch or Pitch Shift (Audition algorithm)

Changes the initial Stretch or Pitch Shift setting over time, reaching the final setting at the last selected audio sample.

Lock Stretch and Pitch Shift (IZotope algorithm)

Stretches audio to reflect pitch changes, or vice versa.

Lock Initial Strech and Pitch Shift (Audition algorithm)

Stretches audio to reflect pitch changes, or vice versa. Final Stretch or Pitch Shift settings are unaffected.

Advanced settings (IZotope Radius algorithm)

Click the triangle to access these options:

Solo Instrument Or Voice

More quickly processes a solo performance.

Preserve Speech Characteristics

Maintains realism in speech.

Formant Shift

Determines how formants adjust to pitch shifts. The default value of zero adjusts formants together with pitch shifts, maintaining timbre and realism. Values above zero produce higher timbres (making a male voice sound female, for example). Values below zero do the reverse.

Pitch Coherence

Maintains timbre of solo instruments or vocals. Higher values reduce phasing artifacts but introduce more pitch modulation.

Advanced settings (Audition algorithm)

Click the triangle to access these options:

Splicing Frequency

Determines how big each chunk of audio data is when you preserve pitch or tempo while stretching a waveform. The higher the value, the more precise the placement of stretched audio over time. However, artifacts are more noticeable as rates go up; sound can become tinny or have a tunnel‑like quality. With higher Precision settings, lower splicing frequencies may add stutter or echo.


Determines how much each chunk of audio data overlaps with the previous and next ones. If stretching produces a chorus effect, lower the Overlapping percentage, without going so low that you produce a choppy sound. Overlapping can be as high as 400%, but you should use this value only for very high speed increases (200% or more).

Choose Appropriate Defaults

Applies good default values for Splicing Frequency and Overlapping. This option is good for preserving pitch or tempo.

Constant Vowels

Preserves the sound of vowels in stretched vocals. This option requires substantial processing; try it on a small selection before applying it to a larger one.


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