1. Cool Edit Pro 2.0 Free Download
2. Cool Edit Pro 2.0 Install
3. Cool Edit Pro 2 User Manual Download
4. How To Use Cool Edit Pro 2
5. Cool Edit Pro 2 User Manual Pdf
6. Cool Edit Pro 2 Free

Adobe Audition, formerly Cool Edit Pro, is a digital audio workstation from Adobe Systems featuring both a multitrack, non-destructive mix/edit environment and a destructive-approach waveform editing view.

• 2Version

Origins[edit]

Oct 17, 2003  User Forums by Brand; Cool Edit Pro / Adobe Audition Forum; Cool Edit Pro 2.0 Manual; If this is your first visit, be sure to check out the FAQ by clicking the link above. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection. Oct 16, 2014  Cool Edit Pro also became a multi track recorder, which some users need. The only downside of this program is you cannot mix in stereo and 5.1 surround formats. Version 2.1, however, offers 45 DSP effects and it can read and write more than 20.

Syntrillium Software was founded in the early 1990s by Robert Ellison and David Johnston, both former Microsoft employees. Originally developed by Syntrillium as Cool Edit, the program was distributed as crippleware for Windows computers. The full version was useful and flexible, particularly for its time.^{[according to whom?]} Syntrillium later released Cool Edit Pro, which added the capability to work with multiple tracks, as well as other features. Audio processing, however, was done in a destructive manner (at the time, most computers were not powerful enough in terms of processor performance and memory capacity to perform non-destructive operations in real time). Cool Edit Pro v2 added support for real-time nondestructive processing, and v2.1 added support for surround sound mixing and unlimited simultaneous tracks (up to the limit imposed by the actual computer hardware). Cool Edit also included plugins such as noise reduction and FFTequalization.

Adobe purchased Cool Edit Pro from Syntrillium Software in May 2003 for $16.5 million^[2], as well as a large loop library called 'Loopology'. Adobe then renamed Cool Edit Pro to 'Adobe Audition'.

Version[edit]

Version 1[edit]

Adobe Audition was released on August 18, 2003. It had bug fixes but no new features, and was essentially a more polished Cool Edit Pro 2.1 under a different name. Adobe then released Audition v1.5 in May 2004; major improvements over v1 included pitch correction, frequency space editing, a CD project view, basic video editing and integration with Adobe Premiere, as well as several other enhancements.

Version 2[edit]

Adobe Audition 2 was released on January 17, 2006. With this release, Audition (which the music recording industry had once seen as a value-oriented home studio application, although it has long been used for editing by radio stations) entered the professional Digital Audio Workstation market. The current version included two sections. Multitrack View supported up to 128 digital audio mono or stereo tracks at up to 32-bit resolution. In the track controls section one could select the input and output for each track (the program supported multiple multi-channel sound cards), select 'record', 'solo', and 'mute', and access the effects rack. New features included ASIO (Audio stream input output) support, VST (Virtual Studio Technology) support, new mastering tools (many provided by iZotope), and a redesigned UI. Adobe also included Audition 2.0 as part of its Adobe Production Studio bundle.

Version 3[edit]

Adobe Audition 3 was released on November 8, 2007. New features included VSTi (virtual instrument) support, enhanced spectral editing, a redesigned multi-track interface, new effects, and a collection of royalty-free loops.

CS2 activation servers' shutdown: Adobe Audition 3, with some other CS2 products, was released with an official serial number, due to the technical glitch in Adobe's CS2 activation servers (see Creative Suite 1 & 2).

Version 4 (CS5.5)[edit]

Audition 4, also known as Audition CS5.5, was released on April 11, 2011, as part of Adobe Creative Suite. Audition 4 was shipped as part of the Adobe Creative Suite 5.5 Master Collection and Adobe Creative Suite 5.5 Production Premium, replacing the discontinued Adobe Soundbooth. Audition 4 was also made available as a standalone product. Enhanced integration with Adobe Premiere Pro allowed editing of multitrack Premiere projects, and users of third-party software were served by the introduction of OMF- and XML-based import-export functions. Other new features included improved 5.1 multichannel support, new effects (DeHummer, DeEsser, Speech Volume Leveler, and Surround Reverb), a history panel, faster and fully supported realtime FFT analysis, and a new audio engine (more reliable and faster) for non-ASIO devices.

According to Adobe,^[3] Audition CS5.5 was rewritten from the ground up to take advantage of parallel/batch processing for performance and make it a platform-agnostic product. Audition CS5.5 now works on Windows and Mac platforms. Over 15 years of C++ code was analyzed, and many features of the previous Audition 3 were ported or enhanced. Notable features that were present in Audition 3, but removed for CS5.5, include VSTi support and MIDI sequencing. Unlike all the previous versions, this is the first release to be available as a Mac version as well as a Windows version.

Version 5 (CS6)[edit]

Adobe showed a sneak preview of Audition CS6^[4] in March 2012 highlighting clip grouping and automatic speech alignment (which had its technology previewed^[5] in September 2011).Audition CS6 was released on April 23, 2012, as part of both Creative Suite 6 Master Collection and Creative Suite 6 Production Premium. It included faster and more precise editing, real-time clip stretching, automatic speech alignment, EUCON and Mackie control surface support, parameter automation, more powerful pitch correction, HD video playback, new effects, and more features.

Version 6 (CC)[edit]

Adobe Audition 6, also more commonly known as Audition CC, was released on June 17, 2013. It is the first in the Audition line to be part of the Adobe Creative Cloud. Also, Audition CC is now the first 64-bit^[6] application in the Audition line. This can provide faster processing time when compared to Audition CS6.^{[citation needed]} New features include sound remover, preview editor, and pitch bender.^{[7][failed verification]}

Version 7 (CC 2014)[edit]

Adobe Audition 7 was released in June 2014 with the name Adobe Audition CC 2014. New with this release came support for Dolby Digital and Dolby Digital Plus formats, custom channel labels, a new UI skin, High DPI support, enhanced clip and track colors and navigation, minimize tracks, tools for splitting all clips at the playhead, and more.

Version 8 (CC 2015)[edit]

Adobe Audition 8 was released in June 2015 with the name Adobe Audition CC 2015. This release offered Dynamic Link video streaming which enabled Audition to display a Premiere Pro project sequence as a video stream at full resolution and frame rate and with all effects, without needing to render to disk. Other features included support for displaying that video content on an external display, scheduled recording, customization of level meter crossover values, automatic session backup, automatic storage of assets alongside session files, import/export of markers, options to relink media, and the addition of Brazilian Portuguese language support. The 8.1 update in the fall of 2015 first unveiled Remix which could analyze a music track and recompose it to a different duration, tools for generating speech based on the OS text-to-speech voice libraries, new options for ITU-based loudness conformation, and the ability to expand and create custom functionality and integration with the Adobe Content Extensibility Platform (CEP) panel support. This update also removed 'Upload to Soundcloud' support as the API had been abandoned by Soundcloud and was no longer functional.

Version 9 (CC 2015.2)[edit]

Adobe Audition 9 was released in June 2016 with the name Adobe Audition CC 2015.2. Of most importance with this release was the new Essential Sound panel, which offered novice audio editors a highly-organized and focused set of tools for mixing audio and would soon be introduced to Premiere Pro allowing non-destructive and lossless transfer of mixing efforts between the two applications. This release also supported exporting directly to Adobe Media Encoder, supporting all available video and audio formats and presets.

Version 10 (CC 2017)[edit]

Adobe Audition 10 was released in November 2016 with the name Adobe Audition CC 2017. A new, flat UI skin and the introduction of the Audition Learn panel, with interactive tutorials, spearheaded this release. This also marked the introduction of the Essential Sound panel^{[contradictory]} and the sharing of all real-time Audition audio effects with Premiere Pro. The 10.1 update in Spring, 2017, offered deep channel separation and manipulation features when working with multichannel audio recordings in Multitrack view, significant improvements to interchange with Premiere Pro sharing all effects and automation non-destructively when transferring a sequence to Audition for mixing, and added spectrum meters to many audio effects. This update also offered the visual keyboard shortcut editor common across other Adobe applications, and offered native support for the Presonus Faderport control surface and mixer.

Version 11 (CC 2018)[edit]

Adobe Audition 11 was released on October 18, 2017 with the name Adobe Audition CC. (The year moniker was dropped from all Creative Cloud applications.) With this release, users were able to easily duck the volume of music behind dialogue and other content types with the new Auto-Ducking feature available in the Essential Sound panel. Multitrack clips were enhanced with fixed z-order, new fade features such as symmetrical fade in/out and fixed duration/curve adjustments. Performance of mixdowns and bounces improved up to 400%. Smart monitoring provides intelligent source monitoring when recording punch-ins and ADR. Video timecode overlay can display source or session timecode without burn-in, a new Dynamics effect with auto-gate, limiting, and expansion simplifies compression for many users, and support for any control surfaces and mixers which use Mackie HUI protocol for communication rounds out the release. Dolby Digital support was removed from this release, though import continues to be supported through most recent operating systems.

Version 12 (CC 2019)[edit]

Adobe Audition 12 was released on October 17, 2018 with the main new features being DeNoise and DeReverb effects. Other new features include: Multitrack Clip improvements, Mulitrack UI improvements, Zoom to time, Add or delete empty tracks, Playback and recording improvements. Third-party effect migration.^[8]

See also[edit]

References[edit]

1. ^'Audition System requirements'. helpx.adobe.com.
2. ^'United States SEC Form 10-Q, Adobe Systems, Inc., May 30, 2003'(PDF). Archived from the original(PDF) on October 30, 2015. Retrieved August 20, 2014.
3. ^'Audition CS 5.5 and the future of Audition - Adobe Community'. forums.adobe.com.
4. ^Adobe. 'Adobe Technology Sneaks 2012 - Adobe Audition CS6 Sneak Peek on Adobe TV'. AdobeTV.
5. ^'Adobe MAX 2019 – The Creativity Conference - November 2–6, 2019'. Adobe MAX 2019.
6. ^Breen, Christopher. 'Review: Adobe Audition CC a solid upgrade hampered by subscription pricing'. Macworld. IDG Consumer & SMB. Retrieved July 22, 2013.
7. ^'Adobe Audition CC Features'. Adobe. Adobe. Retrieved July 22, 2013.
8. ^'Adobe Audition CC 2019 for Mac - MacUpdate'. MacUpdate.com.

External links[edit]

Cool Edit Pro v2's multitrack editing window, with its virtual mixer open in front.

From its beginnings as shareware, Syntrillium's Cool Edit Pro has acquired an impressive professional user base. The new version offers more features, more power, and an updated user interface.

Syntrillium's Cool Edit Pro editor has become a firm favourite of amateur sound recording enthusiasts and professional audio users alike, the world over. The program's widespread popularity is partly due to its remarkable ease of use, partly because of its comprehensive facilities, but especially because of its surprising affordability.

The original Cool Edit Pro — CEP to its friends — was reviewed in SOS June '98. The latest incarnation is version 2.0, a serious makeover of this popular program with dozens of new and enhanced features. The update incorporates much more than cosmetic tweaking and bug-fixing, but the basic structure remains unaltered in concept, with a stereo editing window and a multitrack window for compiling complex material. There has been extensive rebuilding of the workings, but pretty much all of the desirable characteristics of the original remain in place; the impression is of a more mature, wide-ranging and very capable product, yet without the typically steep learning curve associated with audio editing software of this kind.

Like its predecessors, CEP 2.0 is available on a 'try before you buy' basis, as an Internet download (a mere 19.3MB!). This demo program works completely normally for 21 days with everything functioning as expected apart from a couple of audio file format import/export filters, which time out after a minute or so. If you like the look and feel of CEP 2.0 it can be purchased over the web, whereupon the restrictions are lifted and the files unlocked. For those who like to collect colourful packaging, a full boxed version with CD and manual is also available (albeit at a higher cost), as are upgrades for registered users of the previous versions of CEP 1.x and Cool Edit 2000.

Perhaps I should say at this point that Mac users should skip the rest of this article before becoming too disappointed and upset! CEP is only available for the PC and runs under any of the recent Windows operating systems: 98, 98SE, ME, 2000 and XP. It uses standard Windows MME drivers and seems to run happily on pretty much any Windows-compatible stereo or multi-channel soundcard.

The Headlines

The Waveform Statistics feature conveys a wealth of information about the content of your audio.The new edition of CEP boasts a lot of new and substantially improved features compared with the original, and the graphical interface has been 'prettified' too. The number of file formats it can accommodate has also been expanded to a formidable list of linear, non-linear, ands new 'Corona' technology for multi-channel audio coding (WMA Pro) will also be supported shortly. Audio can be recorded into CEP 2.0 at almost any resolution from 8-bit/6kHz up to 32-bit/192kHz, and the software can also potentially record and play back simultaneously through up to 32 independent I/O devices — a mindboggling thought!

CEP runs using the computer's native processing power, and the rapid increase over the last few years of CPU power and hard disk data transfer rates has allowed Syntrillium to increase its real-time processing facilities enormously. For example, the maximum number of tracks in a session has been increased from 64 to 128, with full track bussing (subgrouping) functions and, for the first time, a wide range of real-time effects, processing and equalisation on each track. A rather welcome side-effect of all this new real-time processing is that the user no longer has to wait for Undo files to be created and saved, which increases the speed and immediacy of the program considerably.

The track EQ facilities in the multitrack window offer 'A' and 'B' settings, allowing comparison of two different equalisation curves, or perhaps the creation of a 'reference' and 'modified' setting. Each of the three bands of the fully parametric EQ can range across the entire audio spectrum, and the top and bottom bands are configurable as traditional shelf equalisers or bell curves. Needless to say, the advent of real-time equalisation makes life far simpler compared with CEP 1.x, in which individual WAV files had to be pre-processed offline before being mixed in the multitrack screen.

Some familiar and unusual real-time effects, processes and manipulation tools are also included in CEP 2.0 — over 45 in fact. Some of the more practical include a stereo field rotate function (essentially an automated panning function), built-in reverb, dynamic EQ, dynamic delay (which changes the amount of delay over the duration of the audio clip), a fantastic Doppler shift simulation function, a frequency band splitter (to enable multi-band compression and other complex frequency-dependent processing to be created), and support for DirectX plug-ins.

There is also a 'graphic phase shifter', which is not a phaser in the familiar sense at all, but a tool allowing the phase of a clip to be manipulated. A new 'phase analyser' display is also provided to generate a Lissajous figure or vectorscope display much like that provided by the familiar DK Audio hardware meter and its peers.

There are sufficient effects, processors and tools to get virtually any job done, grouped into categories such as amplitude, delay, filters and noise reduction. The noise reduction facilities cater for reasonably sophisticated click and pop removal, signature-based noise reduction, peak-clipping restoration, spectral analysis, and many more. These processes may not quite reach the ultimate quality of CEDAR's state-of-the-art algorithms, but they are certainly effective if used carefully.

Even with all this sophisticated real-time processing, CEP 2.0 does not demand the latest 2GHz Pentium 4 chip to run: the minimum spec calls for a 233MHz processor with just 64MB of RAM, although a 700MHz processor and 128MB of RAM are recommended. However, the faster your computer's processor and greater the system memory, the more effects and EQs that can be employed at the same time. If you do run out of processing power, CEP provides the ability to pre-process selected 'locked' tracks such that the original raw audio tracks are replaced with processed versions stored temporarily in memory, thereby freeing up real-time processor power for use elsewhere.

With the new track grouping (bussing) feature, it is also possible to combine several tracks through a virtual mix buss (or stereo busses) and apply an overall effect or process. This approach reduces processor overheads even further: a single reverb process can be added to an entire arrangement, for example, rather than having to process each track individually.

A function missing from the original version but always high on Syntrillium's wish list was the ability to 'rip' material from audio CDs and to burn CD-Rs with accurately placed PQ flag (track) markers. CEP 2.0 now contains integral CD-ripping facilities, allowing individual CDA-format files to be opened into the multitrack or edit windows directly or via a new 'Extract Audio from CD' file menu. The CD-burning function is implemented as a plug-in (currently still in beta form and available from the web site) which appears as a button in the Edit window when installed. This allows individual tracks to be selected and dumped into a file in much the same way as most bundled CD-writing software such as Nero and Easy CD Creator. This seems a crude approach to me, and I would have preferred markers to be placed in reference to the session timeline (ideally in the multitrack window), which is the way high-end platforms such as SADiE do it.

Cool Edit Pro 2.0 Free Download

The Waveform Window can be set up to show spectral displays.... or standard waveform displays.

Growing Pains

For the seasoned CEP 1.x user, moving up to version 2.0 will almost certainly cause a few early frustrations, despite the great improvements made overall. Inevitably, the functionality and restructuring have resulted in some significant changes to the user interface, which may well confuse those used to the previous version. One of the first that I spotted was the appearance of a large drop-down menu list when right-clicking in the Edit window. Previously, a right-click would extend a selected area all the way up to the current mouse location, a very handy facility which made 'fast and dirty' editing wonderfully quick and easy. However, I later discovered that the right-click extension facility is still available if the Ctrl key is held at the same time as right-clicking. Even better, Syntrillium have provided a user option under the Preferences menu to revert to the original right-click mode, after which the menu list can be made to appear with Ctrl-right-click instead!

There are far too many operational changes to list each one, but another function I discovered by accident is a new right-click menu in the multitrack window. A third envelope mode has been added to the original volume and pan functions, allowing the wet/dry balance of a track's effect processing to be adjusted and automated.

Compared with previous versions, the new-look CEP 2.0 has a few more sub-windows which can be switched on or off as required to suit the task of the moment: for example, the mixer window can be turned off while assembling tracks and recalled just when adjusting the final mix. Windows can be moved as 'floating' windows or docked to other windows, so the screen layout can be tailored to suit individual preferences. User manual for moto e5 play. Double bars along a window edge identify those that can be docked, which include the Organiser, Cue and Play Lists, Transport Buttons, Time Window, Level Meters, the multitrack Mixer Window, and many others. The last used window arrangement is recalled when the program is started, but there is a facility to reset everything to the factory default if required.

When the first computer audio editors appeared, including early versions of SADiE, Sonic Solutions and Pro Tools to name but three, I was one of many who queried the usefulness of on-screen mixers that could only be controlled by the single 'finger' of a mouse. Most products quickly acquired 'automation' facilities so that a complex mix could be built up one channel at a time, but this was a tedious workaround in most situations. A better solution was to implement interfaces and design special hardware control surfaces to enable physical multi-fader mixing — a far more intuitive and rewarding solution, although often rather expensive. Erba chem 7 user manual pdf.

Syntrillium have adopted a similar approach in CEP 2.0. In addition to the automation envelopes already available, CEP now adheres to Microsoft's 'Human Interface Device' protocol, allowing communication with a growing number of external hardware controllers. I understand that Tascam's US428 USB interface/controller is directly compatible, for example, but Syntrillium also offer their own new hardware controller, the Red Rover. This is a relatively simple but efficient transport and monitor control unit that hooks up via USB (see 'Red Rover' box).

Cool Edit Pro v2's multitrack window now offers extensive sample creation and looping facilities.

Loopology: Free Loop Library

The sample looping facility of CEP is an exciting and creative new function which has uses far beyond the immediately obvious. The comprehensive loop creation and management tools included in the multitrack window come complete with some clever functionality to match tempos and keys between samples and loops. The loops used carry the CEL suffix, but are actually stored in MP3 Pro format, a new and very efficient but high-fidelity data reduction codec.

A few samples are shipped with the product, but not enough to really get your teeth into. However, a quick surf over to a dedicated web site, loopology.com, provides over 2000 free loops grouped into 15 categories such as Ambient, Asian, Blues, Bossanova, Classical, Industrial, Jazz, Seventies Funk, Techno, Urban and so on. Whatever your preferred style, there is probably something here to suit, played by real musicians on real instruments! Loops can also be searched by instrument (piano, synth, guitar, drums, and so forth) and thanks to the 10:1 data reduction, even lengthy loops can be downloaded pretty quickly. After 'unpacking' they can then be dropped straight into a song.

The Loopology loops are all free for use in either commercial or non-commercial projects, and the method of manipulation — as well as the loops themselves — is so good that knocking up a decent backing track, creating a music bed or sting, or just experimenting with song structure is remarkably fast and easy.

MIDI And Clips

Some of the most significant new additions to CEP 2.0 are comprehensive facilities to create and work with sample loops, and the ability to open and run MIDI files. The looping facilities (see box above) are very impressive and remarkably easy to use, with an extensive and completely free loop library available via the Internet. The MIDI functions are basic, but useful nonetheless, and MIDI file data is displayed in the appropriate track as 'piano-rolls'.

Should you be interested in writing music for picture or adding a soundtrack to your home movies, CEP will also accommodate AVI video files and run them locked to the multitrack timeline, with the picture being displayed in yet another floating window. For more serious users wanting to synchronise to external video-related equipment, another useful improvement is that Cool Edit Pro can now act as an EBU-SMPTE and MTC timecode master — it could only slave to these timecodes in previous versions. Oh, and the annoying bug that prevented CEP from responding to code beyond a certain time has also been fixed!

Kodak pixpro astro zoom az421 user manual. Various other relatively minor yet useful upgrades and additions have been incorporated in CEP 2.0. For example there is a level normalising facility which operates on a selected group of audio clips in the multitrack window, and new real-time envelope manipulation facilities allow programme-related dynamic effects to be created, either from presets or manually.

Conclusion

Many professional and semi-pro engineers dismissed the early versions of Cool Edit Pro out of hand. After all, how could such cheap PC software possibly compare to 'proper' DSP workstations like Pro Tools, SADiE or Sonic Solutions? However, CEP proved itself in action to be a remarkably capable, reliable and intuitive tool, which was extremely cost-effective — so much so that numerous branches of BBC Radio have come to rely on it completely in recent years.

Nevertheless, version 1.x had some limitations and frustrations, almost all of which have been addressed in version 2.0. Indeed, pretty much every aspect of the original has been improved or extended, and not just in terms of the user interface: it seems that most of the signal processing algorithms have been overhauled and updated too. Cool Edit Pro 2.0 remains as fantastically easy and logical to use as its antecedents, yet has extended and improved upon the functionality and enhanced the appearance. It compares well with any of the upmarket alternatives, particularly given the price, and will appeal to novices and technophiles alike, providing simplicity of operation or sophistication of signal analysis and processing as required. It even has facilities to convolve signals, for heaven's sake!

Cool Edit Pro 2.0 Install

Considering the prevalence of Macs and Mac-only software in the audio industry, it's at times like this when I enjoy being a PC user. To Mac users we can now say: nah, nah, nah!

Red Rover

The Red Rover interface turns an audio editing and manipulation platform into a really practical hard disk recorder for musical applications. This little controller measures just 6.5 inches wide by 5 deep and 1.25 high, and has a fixed 10-foot cable terminating in a USB plug. The Rover is powered from the USB port, but passes relatively little data back and forth so it shouldn't slow down other USB peripherals. A quarter-inch socket on the rear panel accepts a foot switch input to toggle between Record and Stop, enabling hands-free drop-ins and drop-outs.

The top surface carries a familiar set of transport controls on big clicky buttons with status LEDs. The Rewind and Forward buttons provide a 'jump to previous/next cue' function when double-pressed quickly, and pressing the Play button toggles between play and pause modes. Pressing the Stop and Record buttons together provides a record-ready mode allowing input levels to be set up, while pressing the Record button by itself does just what you'd expect. Three smaller push buttons, all with associated LEDs, provide mute, solo and record arming for the currently selected track (see below), and two more add a cue marker at the current time position and toggle CEP's metronome function on and off.

Innovative products bring joy, create new lifestyle and pave the way for related economies - especially, if they have been developed by CASIO. Experience how creativity becomes contribution. Operation Guide 3796 Digital Time and Date Use the Timekeeping Mode to set and view a digital display of the current time and date. When setting the digital time, you can also configure settings for summer time (Daylight Saving Time or DST). To set the digital time. Jun 26, 2017  Casio MRP-700 User Manual / Module 3796. Jun 26, 2017 Collection. Rate: Previous Casio W-735 User Manual / Module 3416. Next Live Photos Edifice EQB-501 World Grand Tourer Sydney 03. Related Posts. Baby-G BA-120 User Manual / Casio Module 5457. 30th June 2017. Casio MTP-1302 User Manual / Module 2784. 25th June 2017. Casio marine gear wr100m user manual. Smart Outdoor Watch. Electronic Musical Instruments.

Three rotary encoders select the active track (ie. the one to which the other functions all relate), the master volume, and the relative level of the currently selected track. An eight-LED bar-graph meter shows the input level when recording and the overall level when playing back.

A two-line LCD at the top of the panel, with backlight and contrast controls tucked away on the right side panel, shows all the crucial information when working remotely. The top line displays the current transport status, the cursor or playback time, and the selected physical inputs and record mode (left, right or stereo). Below this (working back from right to left) are shown the selected physical output, the currently selected active track, and the master and track relative volumes.

Although it's intended primarily for controlling CEP's multitrack window, many of the Red Rover's functions will also work in the Edit window view, including the transport functions, the Add Cue button, the level meter and time display.

Plugging the Red Rover into a USB port for the first time cues the usual Windows message about searching for a Human Interface driver, followed by a brief and completely painless installation. There seems to be a small delay in processing the volume commands, but otherwise the box does exactly what is expected of it, without fuss or frustration.

Pros

• New real-time EQ and effects.
• More of everything.
• Loop functions.
• Integrated CD ripping and burning.
• Dedicated hardware controller available.
• Excellent compatibility.
• Price.

Cons

• CD burning not as flexible as I would have liked.
• The downloadable version is a huge download.

Summary

Syntrillium have managed to improve this popular, cost-effective, multi-faceted audio editing software package in just about every direction, while also adding a lot of new functionality — all of which is useful rather than just clever. Cool Edit Pro deserves to be taken seriously as an audio workstation par excellence.

Cool Edit Pro 2 User Manual Download

information

Et Cetera +44 (0)1706 228039.

How To Use Cool Edit Pro 2

test spec

Cool Edit Pro 2 User Manual Pdf

• Syntrillium Cool Edit Pro v2.0 build 2095.
• 1GHz Pentium III PC with ASUS motherboard and 512MB RAM, running Windows 98SE.

Cool Edit Pro 2 Free