AA3 is my second-most-used tool, second only to SONAR. The multi-track capability is of no interest to me, as Adobe abandoned that development arc before it was fully fleshed-out. It's nowhere near the same league as SONAR in that respect.
 
However, as an audio editor it nicely complements all the stuff that SONAR doesn't have and probably never will have: click/pop/hiss removal, spectral editing, analysis, MP3 encoding, file conversion, test-tone generation and special effects. It's a Swiss Army knife for audio.
 
Don't bother with the loops, though. It's a huge download and IMO not at all useful. But then, I don't do loops.

I imported a wav file into AA3 and dragged it to a track...and then clicked the editing mode (I think). Now you can left click and drag across your peaks and a knob will appear. Turn the knob down and the peak visually turns down...slick.
 Finally after derailing the thread I have come full circle back to editing peaks.

clintmartin
 Finally after derailing the thread I have come full circle back to editing peaks.

And nicely done Clint 
 

bitflipper
The multi-track capability is of no interest to me

 
Right... So just use it on a single wave then... Got it 
 

bitflipper
But then, I don't do loops.

 
Yeah, same here. I saw the loops gave gave them a miss...

This may seem like a lot of trouble for a few features, but I think when you go to mastering your final project (or one song) the dedicated tools of a wav editor really start to shine. I'm still hoping Sonar adds a mastering tool at some point. There are plenty of cheap or free wav editors out there, but you have Sound Forge and now Adobe Audition 3.0.
Here's a link to a 3.0.1 patch. http://www.adobe.com/support/downloads/detail.jsp?ftpID=4237

clintmartin
Here's a link to a 3.0.1 patch. http://www.adobe.com/support/downloads/detail.jsp?ftpID=4237

Thanks again Clint. I've downloaded that now and I'll install it later. I'm currently doing a bit of turd polishing on Mk II of my latest ditty...

bitflipper
AA3 is my second-most-used tool, second only to SONAR. The multi-track capability is of no interest to me, as Adobe abandoned that development arc before it was fully fleshed-out. It's nowhere near the same league as SONAR in that respect.
 
However, as an audio editor it nicely complements all the stuff that SONAR doesn't have and probably never will have: click/pop/hiss removal, spectral editing, analysis, MP3 encoding, file conversion, test-tone generation and special effects. It's a Swiss Army knife for audio.
 
Don't bother with the loops, though. It's a huge download and IMO not at all useful. But then, I don't do loops.

+1000 on the above. It's also my second most used tool. I think that program is really under-rated. If anyone from the Bakery is reading....please check out some of the awesome tools AA3 does in edit mode...forget multi mode. Grab that stuff for Sonar.....it would make it so much more complete as an editor. :)
 
I had to buy iZotope Rx Advanced for some forensic stuff we have to do monthly. Pretty powerful program...but man, they bit off of AA3 so bad, it's nearly the same other than things are on the opposite side. The look and feel of the program is so Adobe, they should pay them a royalty. But it's probably like copyright infringement...you can do 7 notes of something but if you do 8, you've stolen it. They are missing quite a bit of Adobe stuff....but in 3 seconds, you know who they stole from. I highly recommend Rx...it's just a darned shame it's so expensive. If I didn't have a few law enforcement agencies taking good care of me, I would have never invested in the program.

I did a quick check on AA3 and some of the displays are missing from AA4 that I really wish were there (specifically the "Analyze Phase" window). AA4 has that (sort of), but only in a meter format which is not nearly as useful. The capture noise print/noise reduction are both there, which is my most-used function, so this is definitely worth having as a tool kit for folks. AA4 added (audio) features that would keep me from using AA3 (32-bit floats+, proprietary SRC algorithm, and more VSTi's work), but AA3 is more than capable for almost all functions I use in AA4. I am not a fan of learning GUI nuances, and since AA4 was a rebuild, that is a massive deterrent to me as well TBH.

I've just had a bash at AA3... I'm so used to SF10, and for all I do, trim a wave to length, fade in and out, add some silence to the beginning and end, and then save to MP3, I'm hard pushed to make the jump permanently. I just did same in AA3 but it took me ten times longer because I'm still looking for even the simple things.
 
I think it's just a case of what you are used to, and I'm already using a sledge hammer to crack a nut here... I ain't no power user 

Danny Danzi
 
Sometimes transient attacks on a note on a particular instrument can cause the peak. Instead of just limiting that or compressing it away, see what may be causing it. If a bass guitar has a spot where the note seems to lash out, A compressor to smooth it or even a transient designer type plug can remedy the problem. It's better to soften the blow over possible over-processing.

 
Hey Danny,
 
I just wanted to pick your brain a bit. When you talk about editing a peak with compression or transient designing, are you looking to automate the processor just in that particular passage? Also, I tend to use this plug-in a bit:
http://www.gvst.co.uk/gclip.htm
 
It seems to work very well for the whole transient limiting thing. I can usually get about 3 to 6 dB of peak reduction (I'm only using it on the huge peaks) without any audible artifacts.
 

Danny Danzi
 
That said, the 2-bus comp glues the mix together and also forces you to make eq changes that you wouldn't make if it weren't on the master bus. It's not a necessity, but has made a difference for me. Due to this, when I master, I rarely use a compressor on my own stuff. For clients, sometimes I use a compressor (Waves API 2500) but most of the time I find myself getting the best results using my UAD Precision Multiband compressor.
 

 
I also wanted to know what are your ideas when approaching bus compression. Are you looking to level the sustain portion of the sounds in the mix, that way the decay of the different instruments are in a similar ballpark? This would result in something punchier since you are creating a larger difference between the attack and the sustain portions  Or are you looking to take a tiny bit off the attack portion? What are the results you are looking for when using bus compression?
 

Danny Danzi
 
+1000 on the above. It's also my second most used tool. I think that program is really under-rated. If anyone from the Bakery is reading....please check out some of the awesome tools AA3 does in edit mode...forget multi mode. Grab that stuff for Sonar.....it would make it so much more complete as an editor. :)
 
I had to buy iZotope Rx Advanced for some forensic stuff we have to do monthly. Pretty powerful program...but man, they bit off of AA3 so bad, it's nearly the same other than things are on the opposite side. The look and feel of the program is so Adobe, they should pay them a royalty. But it's probably like copyright infringement...you can do 7 notes of something but if you do 8, you've stolen it. They are missing quite a bit of Adobe stuff....but in 3 seconds, you know who they stole from. I highly recommend Rx...it's just a darned shame it's so expensive. If I didn't have a few law enforcement agencies taking good care of me, I would have never invested in the program.

 
What feature in RX can take care of peaks?
 
Anyway, I know I rambled for a bit but I am really curious. Thanks in advance.
 
 

Great questions there Amine!
 
Answer to the first one: yeah by either automating or at times I literally split a clip at a problem area and either physically take care of an issue or just put a processor right in on that point just as you suspected. I find that the isolation aspect stops other possible artifacts from happening. That plug you mentioned sounds pretty promising, I'm going to check that out. Thanks for posting.