Soundtrack Pro User Manual
Apple Computer, Inc. © 2005 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries.
1 Contents Preface 7 7 9 10 10 An Introduction to Soundtrack Pro What Is Soundtrack Pro? Resources for Learning About Soundtrack Pro Soundtrack Pro Onscreen User Manual Apple Websites Chapter 1 13 13 15 19 Setting Up Your System System Considerations Connecting Audio Equipment Example Hardware Setups Chapter 2 23 24 33 40 The Soundtrack Pro Interface Project Window Media and Effects Manager Utility Window Chapter 3 45 45 47 50 56 68 71 72 74 75 Getting Started With Soundtrack Pro Two Kinds of P
89 90 4 Viewing and Editing Clip Properties Tracks, Busses, and Outputs Chapter 5 93 94 99 107 119 Working in the Timeline Moving Around in the Timeline Working With Tracks, Busses, and Outputs in the Timeline Editing Audio Clips in the Timeline Working With Markers Chapter 6 123 124 125 134 138 140 140 140 141 141 Working in the Mixer Steps in Mixing Working With Channel Strips in the Mixer Working With Effects and Sends in the Mixer Setting the Overall Project Volume Level Listening to a Temporary
216 217 Working With Processing Effects Working With Effect Presets Chapter 10 219 219 228 229 Working With Automation Working With Envelopes Recording Automation Data Working With Timeslices Chapter 11 235 235 236 239 240 240 Recording Audio in Soundtrack Pro Getting Ready to Record Recording Audio in the Timeline Saving Recorded Clips Recording Audio in the Mixer Recording Audio in the Waveform Editor Chapter 12 243 243 244 245 245 246 Using Control Surfaces With Soundtrack Pro Connecting Contro
Appendix B 279 279 279 280 281 281 282 282 283 284 284 285 Soundtrack Pro Keyboard Shortcuts General and File Windows, Tabs, and Layouts Project Playback and Setting the Playhead General Editing Editing Audio Clips in the Timeline Adjusting Audio Clips in the Timeline Navigating in the Timeline Editing Audio Files in the Waveform Editor Tracks and Markers Video Out Recording Appendix C 287 287 289 Audio Basics Basic Audio Concepts Recording Sound Appendix D 293 294 295 Solutions to Common Problem
Preface An Introduction to Soundtrack Pro Soundtrack Pro gives you the tools you need to create high-quality soundtracks for your video productions. Recent years have seen a revolution in working with digital audio, matching the revolution in digital video editing and postproduction. Now, using a personal computer with a fast processor and enough RAM, video editors and other creative professionals can manipulate the audio for their video projects with the same power and flexibility as the video.
In audio file projects, you can edit audio files in the Waveform Editor for tasks ranging from audio repair to sound design. In the Waveform Editor, you can perform precise edits down to the individual sample level. You can perform edits nondestructively using actions, which include processing effects and other operations, and can turn off or completely reorder actions.
 Synchronized video display: You can add a video to a project and view it in the Video tab, or display the video on an external video monitor. Audio/video synchronization is accurate both onscreen and on the external monitor, up to HD resolutions. You can accurately place audio clips to sync with specific frames or points in time in the video.  Audio recording capability: You can record audio directly in tracks in the Soundtrack Pro Timeline, including recording multiple takes.
Soundtrack Pro Onscreen User Manual The Soundtrack Pro onscreen user manual allows you to access information directly onscreen while you’re working in Soundtrack Pro. To view this information, choose Help > Soundtrack Pro User Manual. The Soundtrack Pro onscreen user manual is a fully hyperlinked version of the Soundtrack Pro User Manual, enhanced with many features that make locating information quick and easy.
Other Apple Websites Start at the Apple homepage to find the latest and greatest information about Apple products: Â http://www.apple.com QuickTime is industry-standard technology for handling video, sound, animation, graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a high level of performance, compatibility, and quality for delivering digital video.
1 Setting Up Your System 1 The way you set up your system depends on the audio equipment you plan to use. You can use your computer’s speaker or headphone jack to monitor the audio output from Soundtrack Pro. For better results, you may want to connect external monitors or speakers to your system, so that you can monitor the audio output at a higher level of quality.
Hard Disk Space It’s also a good idea to have a large hard disk with plenty of available space to store the media (audio and video) files you use with Soundtrack Pro. As you work with the application, you’ll likely want to acquire a large collection of sounds to use in your Soundtrack Pro projects.
Connecting Audio Equipment You can use a variety of audio equipment with Soundtrack Pro for both recording and playback. For information on connecting a specific piece of equipment to your computer, read the documentation that came with the equipment. When using external audio devices, it’s a good idea to connect them before opening Soundtrack Pro. Soundtrack Pro does not support video input from devices such as camcorders or videocassette decks.
FireWire (IEEE 1394) FireWire is a professional and consumer standard for both audio and video equipment. The combination of fast data-transfer rates, high storage capacities, and plug-and-play connection makes FireWire an attractive choice for working with digital audio files. FireWire is included on all current Macintosh computers, and a number of FireWire audio interfaces are available.
PCI (Peripheral Connect Interface) PCI interfaces, unlike FireWire and USB interfaces, require that you install a dedicated sound card in your computer. PCI provides high bandwidth and fast data-transfer rates, allowing you to record and play back large numbers of files at the highest possible sample rates and bit depths. PCMCIA PCMCIA is a consumer standard for connecting devices to a laptop computer.
RCA RCA connectors are used on consumer audio equipment such as home stereo systems and videocassette recorders. RCA connector (unbalanced) Optical Digital (AES-EBU and S/PDIF) AES-EBU and S/PDIF are both used to provide an optical digital connection to professional and consumer audio equipment, including audio interfaces, DAT (digital audio tape) machines, hardware samplers. Both carry a stereo digital signal.
Amplifiers If you are recording audio from microphones, and are not running the microphone’s signal through a mixer with a microphone pre-amplifier, you need to connect an amplifier to boost the microphone’s signal before sending it to the computer. If you are connecting monitors or speakers that are not self-powered, you also need to connect them through an amplifier.
Setting Up a System Using a USB Audio Interface With this setup, you can record audio input from microphones and musical instruments, and monitor audio output, through a USB audio interface.
Setting Up a System Using a FireWire Interface and a Control Surface With this setup, you can record audio input from several sources simultaneously, and monitor audio output channels independently, through a mixer connected to a FireWire audio interface.
Setting Up a System Using a Video Output Device With this setup, you can play video and audio through an external video output device. Because using a video output device can result in increased latency, you may want to combine this setup with an audio-only setup (as shown in the preceding pages), and switch between the two setups.
2 The Soundtrack Pro Interface 2 In Soundtrack Pro, you work in four main windows: the Project window, the Mixer, the Media and Effects Manager, and the Utility window. Project window Utility window Media and Effects Manager  The Project window includes the Timeline, where you arrange audio clips, and the Waveform Editor, where you edit audio files.  The Mixer is where you mix multitrack projects. It includes channel strips for each track, bus, and output, as well as other controls.
Project Window The Project window is the “canvas” where you work on your projects. For multitrack projects, the Timeline is where you arrange and edit audio clips. For audio file projects, the Waveform Editor is where you edit audio files. Toolbar Tabs Mono Mix button Master volume slider Playhead Position value slider Transport controls Selection Length value slider  Toolbar: Includes tools for common functions. You can customize which tools appear in the Toolbar.
Toolbar The Toolbar is located at the top of the Project window. When you first open Soundtrack Pro, the Toolbar includes buttons for creating a new project, creating a new audio file, showing the Mixer and the Utility window, managing layouts, adding markers, and other common functions. You can customize the Toolbar, adding buttons for functions you want to access frequently. For information about customizing the Toolbar, see “Customizing the Toolbar” on page 49.
Timeline The Timeline gives you a visual representation of a multitrack project, showing the position of clips, the playhead, and other items in time. The Timeline is organized into three groups of horizontal rows called tracks, busses, and outputs. You can add and arrange audio clips in tracks, use busses to create submixes, and send audio to physical output channels using outputs. You can control the sound of each track, bus, and output using the controls in its header.
 Level meters: As the project plays, the level meters show the volume level of the first output (Output 1).  Time ruler: You can precisely position clips, the playhead, and other items to a specific point in time (minutes, seconds, frames) or to a musical beat using the Time ruler.  Track area: Includes horizontal rows for tracks, busses, and outputs. Also includes the playhead, envelopes, and markers.
 Volume slider: Sets the track, bus, or output relative volume in the overall mix.  Output pop-up menu: Choose an output for the track or bus, or choose the physical output channels for the output from the menu.  Pan slider: Sets the pan position of the track or bus. Appears in track and bus headers only, not in output headers. For detailed information on using the track controls, see “Using the Track Controls” on page 102.
Mixer You mix your project in the Mixer. Each track, bus, and output has a channel strip in the Mixer with volume controls, mute and solo buttons, slots for adding effects, and other controls. You can view the levels for each track, bus, and output using level meters in its channel strip. You can also record audio and automate volume and pan changes in the Mixer.
Each channel strip includes the following controls: Drag handle Icon Effects slots Output pop-up menu Pan slider and value slider Level meters and peak indicator Volume fader and value slider Mute and Solo buttons Record Enable button Name  Drag handle: Click to select the channel strip and drag to reorder it in the Mixer.  Icon: Icons let you visually distinguish channel strips in the Mixer. Click an icon to change it.
 Record Enable button: Click to enable the track for recording. When you click a track’s Record Enable button, the Recording tab of the Utility window appears, showing the track’s current recording settings. Appears in track channel strips only, not in bus or output channel strips.  Mute button: Click to mute (or unmute) the channel strip.  Solo button: Click to solo (or unsolo) the channel strip.  Name field: You can type a new name for the channel strip.
 Waveform View and Spectrum View buttons: Change the display between Waveform view and Spectrum view.  Time display: Shows the current position of the playhead.  Global Waveform view: Shows you a miniature view of the entire waveform and the playhead position, and lets you move quickly to different parts of an audio file.  Waveform display (and editing area): Shows the waveform of the audio file (or its frequency spectrum, in Spectrum view).
 Clear Fixed button: Removes fixed items from the Analysis Results list.  Magnify button: Zooms in on the selected item in the Analysis Results list for as long as you hold down the button.  Fix All button: Fixes all items in the Analysis Results list.  Fix button: Fixes the selected items in the Analysis Results list.
Browser Tab The Browser tab displays the disks connected to your computer in a view similar to the Finder’s list view. You can also preview files in the Browser tab, and drag them to the Timeline. Tabs Back and Forward buttons Computer and Home buttons Path pop-up menu File list Preview controls Media pop-up menu  Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.
Favorites Tab You can store frequently used items in Favorites, so that you can easily access them directly. You can also preview files in Favorites, and drag them to the Timeline. Favorites list Preview controls Media pop-up menu  Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.  Path pop-up menu: Displays the levels of the file path to the current location, letting you move back to a previous level.
Search Tab The Search tab lets you locate audio files using a variety of criteria. You can perform text searches, and search for Apple Loops and other tagged file formats using keywords for instrument, genre, mood descriptors, and other categories. Matching files are displayed in the Search Results list. Once you locate the files you want to use, you can preview them in the Search Results list or drag them to the Timeline.
 Button and Column view buttons: Change the view to either Button or Column view.  Category pop-up menu: Restricts the available keywords to a particular category.  Setup button: Displays the Search Setup dialog, from which you add items to the Search database.  Time Signature pop-up menu: Restricts search results to files with the selected time signature.  File Type pop-up menu: Choose whether to display all files, or only looping or nonlooping files.
Bin Tab The Bin tab lists the media files added to the project. You can drag files from the Bin tab to the Timeline. You can also add files to the Bin for easy access in a project. Files not currently added to the project appear dimmed, and offline files appear in red text. File list Preview controls Media pop-up menu  File list: Displays the media files in the current project.  Preview controls: Include Play and Mute buttons and a volume slider.
Effects Tab You add effects and sends to your project and adjust effect parameters in the Effects tab. When you click the Effects button on a track, bus, output, or audio file project, the Effects tab appears showing the item’s current effects settings and sends. Category list Effect list Show pop-up menu Add Effect button Remove Effect button Effect parameters area Add Send button Reset Effect button  Category list: Lists the categories of available effects, which are categorized by manufacturer.
Utility Window The Utility window features tabs for viewing a video in a project, observing project levels, viewing details, and setting up recording. Video Tab The Video tab is where you add a video to a project, view the video, and control video playback.
Recording Tab The Recording tab is where you edit a track’s recording settings. When you click a track’s Record Enable button, the Recording tab appears, displaying the track’s current recording settings. Input pop-up menu Peak indicator Gain slider and field Stereo checkbox Monitor pop-up menu Level meters Mute Project checkbox Disk space indicator  Peak indicator: Shows the highest level reached by the recording input signal.
Meters Tab The Meters tab displays stereo level meters that you can use to observe the volume of the first output in a multitrack project or the overall output for an audio file project. Peak indicator Reset button Go to Peak buttons Level meters Peak Value and Location display  Peak indicator: Shows the highest level reached as the project plays. If the level rises above 0 dB, the peak indicator becomes red to indicate clipping.
Details Tab The Details tab shows information about the currently selected media file, clip, marker, or envelope point, and gives you a way to edit clip, marker, and envelope point details. You can also view and edit details for a selection in the Waveform Editor.
Marker Details  Type buttons: Select whether the marker is a Beat marker or a Time marker.  Name field: Type a name for the marker.  Position value slider: Set the time position of the selected marker.  Measure in pop-up menu: Choose the units for setting the marker position. Envelope Point Details  Position value slider: Set the time position of the selected envelope point.  Value value slider: Set the value of the selected envelope point.
3 Getting Started With Soundtrack Pro 3 This chapter describes the two kinds of projects you can create in Soundtrack Pro, and describes how to work with windows, use layouts, play projects, and set Soundtrack Pro preferences. Two Kinds of Projects You can use Soundtrack Pro to create and work with two kinds of projects: multitrack projects and audio file projects. The two project types have different project properties, and appear with different icons in the Finder.
You can export a project mix to an audio file, which you can import into Final Cut Pro or another application. You can also export selected tracks, busses, and outputs, or export a project using the Compressor application. For information about creating, saving, and working with multitrack projects, see Chapter 4, “Working With Multitrack Projects,” on page 81. For information about working in the Timeline, see Chapter 5, “Working in the Timeline,” on page 93.
Setting Up Your Workspace There are several ways you can set up the Soundtrack Pro workspace to suit your display size and workflow, whichever type of project you are creating. You can arrange windows, reorder and detach tabs in the Utility window and the Media and Effects Manager, and add and reorder buttons in the Toolbar. You can create layouts for different tasks and switch between them. Basic Window Controls You can move, resize, or minimize a project’s windows.
To detach a tab from the Utility window or the Media and Effects Manager: m Drag the tab out of its docked position in the window to create a separate window for the tab. To reattach a tab: m Drag the tab back to its original location at the top of its originating window. Using Project Layouts Soundtrack Pro lets you save and recall preset window arrangements called layouts, so that you can optimize your workspace for different tasks and different display sizes.
Customizing the Toolbar The Toolbar at the top of the Project window contains buttons for frequently used commands. You can customize the Toolbar, adding buttons for the actions you use most often, and can return to the default set later. The default set of Toolbar buttons includes buttons for creating new projects, opening project windows and tabs, adding markers, and other common commands.
To show only icons in the Toolbar, do one of the following: m Control-click the Toolbar, then choose Icon Only from the shortcut menu. m In the Customize sheet, choose Icon Only from the Show pop-up menu. To show only text in the Toolbar, do one of the following: m Control-click the Toolbar, then choose Text Only from the shortcut menu. m In the Customize sheet, choose Text Only from the Show pop-up menu.
Setting the Playhead The playhead appears as a thin black line running vertically through the Timeline in multitrack projects, and through the waveform display in audio file projects. Where it crosses the Time ruler, the top of the playhead has a triangular handle that makes it easier to see its position onscreen and drag the playhead.
Setting the Playhead Using the Time Display When a project is playing, the Time display constantly updates to show the current position of the playhead in both Time-based and Beats-based formats. You can also set the playhead to a new position by entering the position in the Time display. The arrangement of the Time-based and Beats-based positions in the Time display changes depending on the time format of the project.
For example: Â If you enter 01.23, and the Time ruler units are set to seconds, Soundtrack Pro interprets it as 00:00:01.23. This stands for 1 second and 23/100 of a second. Â If you enter 0.12.34, Soundtrack Pro interprets it as 00:00:12.34. This stands for 12 seconds and 34/100 of a second. You can select only part of the position in the Time display and enter a new number for that position. For example, you can select only seconds, or minutes and seconds. The other categories keep their present values.
To change the playhead position by entering a value: 1 Double-click the value slider. The value slider becomes a value field, with the current value selected. 2 Type a new value into the field, using appropriate punctuation. 3 Press Tab or Enter to confirm the new value. To change the playhead position in increments: m Click the Decrement arrow to move the playhead left (earlier in time) in increments, or click the Increment arrow to move the playhead right (later in time) in increments.
Controlling Playback With the Transport Controls You use the transport controls to control playback of your project. The transport controls let you set the playhead to various points in time, start and stop playback, activate the playback region, and start a recording session to record your own audio. Play from Beginning Record Go to Beginning Play Cycle Go to End MIDI Sync  Record: Starts recording at the playhead position on the track you have enabled for recording.
Controlling Playback Using Keyboard Shortcuts There are a number of keyboard shortcuts you can use to control playback of your project. To use keyboard shortcuts, the pointer cannot be in a text field. Â Space bar: Plays back the project from the current playhead position. If the project is playing, pressing the Space bar sets the playhead back to the point from which the project started playing. This is equivalent to clicking the Play button. Â Return: Sets the playhead to the beginning of the project.
Looping and Non-Looping Files Soundtrack Pro supports two types of audio files: looping and non-looping files. Most audio files are non-looping files unless they contain tags for tempo, key, and other information. Many of the Apple Loops that come with Soundtrack Pro, as well as other tagged audio files, can be looping files. Looping files may contain music, rhythmic sounds, or other repeating patterns. You can resize a looping file to fill any amount of time.
Using the Browser to Locate Files The Browser tab shows the hard disks and other storage media connected to your computer, and lets you browse through the file hierarchy to find audio files located on disk. To locate audio files using the Browser: m Double-click a volume or folder in the Browser to view its contents. m You can move back through the previous locations in the Browser using the Forward and Back buttons, or through the levels of the file hierarchy using the Path pop-up menu.
Using Favorites to Locate Files Favorites let you store frequently used file locations, so that you can access them directly. You can add and remove Favorites from the Media pop-up menu at the lowerright corner of the Media and Effects Manager. To locate audio files in Favorites: m Double-click the disk or folder you want to open. Double-click an item to open it.
Using Search to Locate Files Using Search, you can search for media files to add to your project. Search has two views: Column view and Button view. You choose which view to display by clicking the Columns View or Button View button in the upper-left area of the window. In both views, the files matching your search criteria appear in the Search Results area, along with columns displaying additional information for tagged files. You can sort these columns by clicking the heading on top of each column.
To search for files in Column view: 1 Choose the type of keywords to display in the Keywords list from the Keywords popup menu. You can use the Time Signature and Scale Type pop-up menus to restrict matches by those categories. 2 Select a keyword in the Keywords list to display matching files in the Search Results area. Select a keyword to display the matching files in the Search Results area. The hints, tempo, key, and number of beats for each matching file are also displayed.
Refining a Search in Column View There are several ways you can refine your searches in Column view. You can select items in the Matches column to add the matching files for each category to the search results, and you can enter text in the Search Text field to narrow your search to files that include the text in their file path. Selecting multiple keywords in the Keywords list narrows the search results to files matching all the selected keywords.
Searching for Files in Button View In Button view, the upper area of the Media and Effects Manager displays a grid of buttons, each of which is labeled with a keyword. The keywords displayed are determined by the Keywords pop-up menu; the choices are Best Mix, Instruments, Genre, Descriptors, and Custom. The keywords for each choice are fixed, and appear whether or not matching files for the keyword exist. Keywords for which no matching files exist are dimmed.
Refining a Search in Button View There are several ways you can refine your searches in Button view. You can select multiple keyword buttons to narrow your search results to files matching all the selected keywords, and you can enter text in the Search Text field to narrow your search to files that include the text in their file path. To refine your search using multiple keywords: m Command-click multiple keyword buttons. Select additional keywords to refine your search.
Adding Custom Keywords You can add custom keywords, which appear in the Keywords list in Column view and on the keyword buttons in Button view. Custom keywords can be added only in Button view. To add a custom keyword: 1 Choose Custom from the Keyword Type pop-up menu. 2 Control-click one of the buttons in the grid, then choose a custom keyword from the shortcut menu. Choose Custom from this pop-up menu. Control-click a button, then choose the desired keyword from the submenu.
To add a directory to the Search database: 1 Click the Setup button at the top of the Search tab. Click here to display the Setup dialog. 2 In the Setup dialog, click the Add Directory button. Click the Add Directory button, then select a directory to add. Click here to index the directory. 3 In the file dialog, navigate to the directory you want to add, then click Open. The directory appears in the list in the Setup dialog. You can resize the Search dialog if you need to see more items in the list.
Removing a Directory From the Search Database If you move or change your collection of audio files, you can remove a folder from the Search database. Removing unneeded folders from the database can shorten search times and eliminate extraneous results. To remove a folder from the Search database: 1 Click the Setup button at the top of the Search tab. 2 In the Setup dialog, select the directory you want to remove, then click the Remove Directory button.
Previewing Audio Files Once you locate an audio file you want to use in your project, you can preview the file in the Media and Effects Manager. When you preview files, Soundtrack Pro matches the sample rate of the file to the project sample rate. When you preview looping files, Soundtrack Pro matches their tempo and key to the project tempo and key. To preview an audio file: m Select the file in the Media and Effects Manager. The selected file starts playing.
Using the Preview Controls The preview area at the bottom of the Media and Effects Manager contains controls you can use when previewing audio files. Play button Media pop-up menu Mute button Volume slider  Play button: Starts playback of the preview file. If the file is playing, stops playback.  Mute button: Mutes playback of the preview file without stopping project playback. Clicking the button again unmutes the preview file.  Volume slider: Sets the playback volume of the preview file.
Viewing Audio File Information You can view information about an audio file in the Media and Effects Manager, the Timeline, or the Waveform Editor in the Details tab of the Utility window. When you select an audio file in the Media and Effects Manager, the Details tab displays the file path and other information about the file. The following information is displayed in the File tab of the Details tab:  Name: The name of the file  Hints: The hints provided for the file.
Note: The information that is displayed depends on whether or not the file is tagged. Untagged files may not display information for all categories. For more information on file tags, see Appendix A, “Using Apple Loops Utility,” on page 263. You can also view and edit audio clip properties in the Details tab. For information about viewing and editing clip properties, see “Viewing and Editing Clip Properties” on page 89.
Using Snap When you move and resize clips in the Timeline, or select part of an audio file in the Waveform Editor, you usually want them to start and end at a specific point in time. To synchronize clips with a video, you may want to position them in line with a specific frame. In a music-based project, you may want to align clips with measures and beats.
For projects set to Beats-based format, the available Snap To values are:  Ruler ticks  1/4 notes  1/8 notes  1/16 notes  1/32 notes  1/64 notes  Markers  Clips on Adjacent Tracks To turn snap on: m Choose View > Snap (or press G). A checkmark next to the menu item indicates that snap is turned on. Choose View > Snap again to turn snap off. To set the Snap To value: m Choose View > Snap To, then choose a value from the submenu. You can temporarily defeat snap while you work in the Timeline.
Reconnecting Media Files Because Soundtrack Pro multitrack projects contain references to media files, and not the files themselves, a multitrack project cannot play back if the media files it uses are erased or moved. When you open a multitrack project in Soundtrack Pro, the application checks to see if the media files it uses exist in the same location as they did when the project was last opened.
Setting Soundtrack Pro Preferences You set preferences for various aspects of Soundtrack Pro that affect both the appearance and operation of the application in the Preferences window. Some preferences apply to the current project, and some apply to new projects you create. You may want to specify some preferences before you begin working in Soundtrack Pro. To open the Preferences window: m Choose File > Preferences.
 Scrollwheel pop-up menu: Choose whether an attached mouse with a scrollwheel scrolls the Timeline or zooms in or out at the playhead position.  Automation Recording Sensitivity slider: Drag to set the level of sensitivity with which onscreen and control surface movements are recorded. Setting the slider to High results in all movements being recorded.  Scratch Location button and display: Click, then browse to the location of the disk or folder you want to use as the location for storing scratch files.
 Snap To pop-up menu: Sets the default Snap To value for new multitrack projects. The choices are Ruler Ticks, Quarter notes, 8th notes, 16th notes, 32nd notes, 64th notes, and Clips on Adjacent Tracks.  Track Height pop-up menu: Sets the default track height for new multitrack projects. The choices are Reduced, Small, Medium, and Large.  Overlap Mode pop-up menu: Sets whether overlapped clips are crossfaded or truncated for new multitrack projects.
Synchronization Preferences These preferences let you specify synchronization settings. Input  Sync To MIDI Clock checkbox: Sets Soundtrack Pro to receive MIDI Clock signals from a MIDI application or external device.  Sync To MIDI Time Code checkbox: Sets Soundtrack Pro to receive MIDI Time Code (MTC) signals from a MIDI application or external device. Output  MIDI Clock pop-up menu: Choose the device to send MIDI Clock to, or choose None.
Control Surfaces Preferences These preferences let you specify settings for communicating with attached control surfaces. Â Control Surfaces field: Shows the control surfaces connected to your computer. Channels and banks are assigned to control surfaces in the order they appear in the field, starting from the left. Â Add and Delete buttons: Add or delete the selected control surface so that Soundtrack Pro no longer connects to it.
Video Out Preferences These preferences let you specify settings for video output from Soundtrack Pro. Â Video Output Device pop-up menu: Choose a video output device, or choose None. Â Use Quarter-size Frames checkbox: Select to send video to the output device as quarter-size frames. Quarter-size frames require less data throughput and can be sent more efficiently than full-size frames.
4 Working With Multitrack Projects 4 You can arrange and mix audio clips in a multitrack project. Multitrack projects include tracks, busses, and outputs you can use to create sophisticated mixes. When you create a multitrack project, you can set the project’s properties and the project length. You locate and add media to your project using the Media and Effects Manager. Creating and Opening Multitrack Projects When you open Soundtrack Pro, a new, blank project appears.
Closing Multitrack Projects To close a project: m Select the project’s tab in the Project window, then choose File > Close Project (or press Command-Shift-W). Setting Project Properties Each project has a set of project properties, which include time format, sample rate, tempo, time signature, key, and overlap mode. Each project property has a default setting, described below. You can change the project properties using the project controls in the Project window in the Timeline.
To set the time format: m Click the Time Format button to set the format to Time-based, or click the Beats Format button to set the format to Beats-based. Time-based Format button Beats-based button You can also set individual tracks to use a different time format than the project’s time format. For information on setting a track’s time format, see “Changing Track Time Format” on page 104.
Tempo The tempo sets the rate of the basic beat value for the project. When you add looping files to a project, their tempo is matched to the project tempo. The tempo range is from 60 to 200 beats per minute (bpm). The default tempo is 120 bpm (which equals two beats per second). You set the project tempo using the Tempo value slider in the project controls.
Key The project key sets the root note (or tonic) for the project. When you add looping files to a project, their key is matched to the project key. You can set the project key to any note of the chromatic scale (from A through G#), or to None (–). The default key is A. Note: The key does not determine the scale used (major, minor, or another scale), only the tonic or root note of the project. To set the project key: m Choose a key from the Key pop-up menu.
Setting the Project Length By default, the length of a project depends on the media in the project. The project length is set to the end of the last clip in the project. If the project uses a time-based effect, and the effect extends past the end of the last clip, the project length extends to include the effect’s “tail.” Adding a clip to the end of the project, or adding an effect that produces a “tail,” extends the project length to include the new clip or the effect’s tail.
To save a project and its audio files together: 1 Choose File > Save. 2 In the dialog that appears, select the Collect Audio Files checkbox. 3 Navigate to the folder in which you want to save the project and its audio files, then click Save. The project file, and a copy of every audio file the project uses, are saved to the selected location. 4 You can optionally click the New Folder button to create a new folder for the collected project. It’s a good idea to save each collected project in its own folder.
To add an audio file from the Media and Effects Manager, do one of the following: m Drag the file from the File list in the Media and Effects Manager to a track in the Timeline. m Drag the file from the File list between two existing tracks. A new track is created and the clip is added to the track. m Drag the file from the File list to the empty part of the Timeline below the outputs. A new track is created and the clip is added to the track.
To add an audio file from the Finder: m Drag the file from the Finder to the Timeline to a track, between two existing tracks, or to the area below all existing tracks. When the Bin tab of the Media and Effects Manager is active, the Bin shows all of the audio clips in the project. You can drag a clip from the list to the Timeline to add a new clip from the same audio file at a different point in time, or to a different track.
 Duration value slider: Sets the duration of the clip. The duration of looping files is displayed in number of beats; the duration of non-looping files is displayed in seconds.  Offset value slider: Sets the number of beats (for looping files) or seconds (for nonlooping files) from the beginning of the source file at which the clip begins playing.  Transpose pop-up menu: Sets the transposition in semitones for looping files; the range is –12 to +12 semitones.
Busses Using busses, you can create submixes, letting you adjust volume and pan and add effects to groups of related tracks. You use busses by adding sends to effects chains in the Effects tab or the Mixer, then routing audio from each send to a bus. Each bus has a drag handle, a name, an icon, and a set of controls that appear in the bus’s header in the Timeline and in its channel strip in the Mixer.
Each output has a drag handle, a name, an icon, and a set of controls that appear in the output’s header in the Timeline and in its channel strip in the Mixer. Output controls include a volume slider, a pop-up menu where you can choose the physical output channels for the output, and buttons to mute or solo the output and add effects. Each output channel strip includes stereo level meters you can use to watch the output’s levels, and a set of effects slots where you can add and order effects and sends.
5 Working in the Timeline 5 The Timeline is where you arrange audio clips to build your soundtrack. You can also adjust volume and panning, add effects, and edit envelopes to control automation. The Timeline displays a visual representation of a project, showing the point in time when audio clips start playing and their duration. You control when and how long clips play by moving and resizing them in the Timeline. The Timeline is arranged in three sets of horizontal rows: tracks, busses, and outputs.
Moving Around in the Timeline Soundtrack Pro provides several controls that let you change the view of the Timeline and move to different parts of your project. You can zoom in or out for a closer or wider view of the Timeline, control how many tracks are displayed in the Timeline, and change which part of the project is currently visible using the scroll bars and Timeline controls. You can split the Timeline view, and use the Global Timeline view to quickly move to different parts of your project.
Using the Zoom Control You can zoom in to make precise edits in the Timeline, or zoom out for a wider view of your project using the Zoom control. The Zoom control features a slider on a graduated scale. Moving the slider to the left or clicking the left side of the control zooms in for a closer view, displaying a smaller area of the Timeline close up. Moving the slider to the right or clicking the right side of the control zooms out for a wider view, displaying a wider area of the Timeline.
You can also zoom in and out using menu commands or keyboard shortcuts. If your mouse has a scroll wheel, you can use it to zoom in and out. You can also fit the entire project in the visible area of the Timeline. To zoom in, do one of the following: m Move the Zoom slider to the left. m Click the left side of the Zoom control. m Choose View > Zoom In. m Press the Up Arrow key. m Press Command-plus (+). m If the mouse connected to your computer has a scroll wheel, move the scroll wheel.
Setting Track Height You set the height of tracks, busses, and outputs in the Timeline using the Track Height control. The Track Height control has four settings. The smallest rectangle sets the track height to a minimized setting, with each track (and track header) reduced to halfheight, allowing more tracks to be displayed in the Timeline. To set the height of tracks, busses, and outputs: m Click one of the four rectangles on the Track Height control.
Using the Time Ruler The Timeline has a Time ruler that shows the divisions of time in a project. You can set the playhead to a precise frame, point in time, or sample number using the Time-based units on the Time ruler, or to a specific musical measure or beat using the Beats-based units, to synchronize playback of audio clips in the Timeline. The Time ruler changes depending on the time format of the project and the Time ruler units.
To activate the playback region: m Click the Cycle button in the transport controls. To move the playback region: m Click in the bottom half of the playback region and drag it to a new position in the Timeline. To resize the playback region: m Select either the start point or end point handle in the Time ruler and drag to resize the playback region. To remove the playback region: m Click in any part of the Time ruler outside of the current playback region.
To add a bus, do one of the following: m Choose Multitrack > Add Bus. m Control-click a bus, then choose either Add Bus Above or Add Bus Below from the shortcut menu. To add an output, do one of the following: m Choose Multitrack > Add Output. m Control-click an output, then choose either Add Output Above or Add Output Below from the shortcut menu.
Moving and Copying Tracks, Busses, and Outputs As you work on your project, you may want to rearrange tracks, busses, and outputs. You can move and copy them to change their vertical arrangement in the track, bus, or output section of the Timeline. You cannot move one to the area for another (as indicated by the rows labeled “Tracks,” “Busses,” and “Outputs” in the Timeline). You can only move or copy one track, bus, or output at a time.
Using the Track Controls Tracks, busses, and outputs have headers, located along the left side of the Timeline. Each header contains track controls that you can use to mute or solo the track, bus, or output, adjust its volume level and pan position, add effects, and show or hide its envelopes. Adjusting Volume The volume slider controls the volume (the loudness relative to other tracks) of the track, bus, or output.
Muting and Soloing Tracks, Busses, and Outputs The Mute button mutes (silences) the track, bus, or output. You can mute multiple tracks, busses, and outputs, allowing you to hear only the remaining, unmuted ones. Muting lets you compare the sound of the project using different combinations of tracks, busses, and outputs, and hearing the result of changes you make to them. To mute a track, bus, or output: m Click the Mute button. Click the Mute button again to unmute the track, bus, or output.
Changing Track Time Format By default, tracks use the same time format as the project (Time-based or Beats-based). You can change the time format of a track, which changes the behavior of tagged clips when you change the project tempo. When the track time format is Time-based, clips remain at the same time position (the same second or frame) when you change the project tempo.
2 In the Effects tab, select a category in the Category list to display the effects for that category in the Effect list. Select the category of effects you want to use from this list. 3 In the Effect list, do one of the following: Â Double-click the effect you want to add. Â Select the effect name, then click the Add Effect button. Â Drag the effect to the Effect Parameters area. Drag the effect from the Effect list... ...to the Effect Parameters area.
Showing and Hiding Track, Bus, and Output Envelopes Clicking the automation disclosure triangle for a track or bus shows the volume and pan envelopes, which you can use to automate changes to pan position and volume level over the course of the project. Clicking the triangle for an output shows the output’s volume envelope. The envelopes appear in the Timeline below the track, bus, or output. You can also add envelopes for effect parameters, which appear below the other envelopes.
Editing Audio Clips in the Timeline You can edit audio clips in a variety of ways in the Timeline. You can select, cut, copy, and paste clips, move, resize, transpose, split and join them, and edit them in other ways. Selecting Audio Clips You select the audio clips you want to edit. You can select a single clip or multiple clips, including clips in different tracks. When you select a clip, it appears darker than unselected clips. To select an audio clip: m Click the clip in the Timeline.
Cutting, Copying, and Pasting Audio Clips You can cut, copy, and paste audio clips in the Timeline. You can also paste multiple copies of a clip. To cut an audio clip: m Select the clip in the Timeline, then choose Edit > Cut (or press Command-X). The clip is removed from the Timeline and placed on the Clipboard. To copy an audio clip, do one of the following: m Select the clip in the Timeline, then choose Edit > Copy (or press Command-C). m Option-drag the clip to the position where you want to copy it.
To paste multiple copies of a clip: 1 Cut or copy the clip. 2 Set the playhead to the point you want to paste the first copy of the clip. 3 If you want to paste the copies in a different track, select the track. 4 Choose Edit > Paste Special > Paste Repeat (or press Option-Command-V). 5 In the Paste Repeat sheet, enter the number of times you want to paste the clip. Type the number of times you want to paste the clip in the Paste Repeat sheet.
To move an audio clip to a new track: m Drag the clip up or down to a different track. You can also move an audio clip using the Left and Right Arrow keys with various modifier keys. Using the Option key with the Arrow keys moves the clip by one pixel at a time; using the Option and Shift keys with the Arrow keys moves the clip to the next gridline in the Timeline. When you move a clip by one pixel, the amount the clip moves in time depends on the current zoom setting.
To resize an audio clip: 1 Place the pointer at either the left or right edge of the audio clip. The pointer changes to a Clip Resize pointer. 2 Click the edge of the clip and drag left or right to resize it. When you lengthen a clip with looping playback mode, the notches at the top and bottom of the clip indicate the end of each repetition of the source audio file. Drag the clip to the left or right to resize it. Notches indicate the points where a looping clip repeats.
To set the project to crossfade mode: m Click the Crossfade Mode button, located above the Global Timeline view. Crossfade Mode button Truncate Mode button In crossfade mode, when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline, a crossfade is created for the overlapped part of the two audio files. You can adjust the boundaries of the crossfade in the Timeline.
Truncating Overlapping Audio Clips You can have Soundtrack Pro truncate the overlapping part of audio clips in the Timeline instead of crossfading them. To truncate audio clips, you set the project to truncate mode, then drag an audio clip so that it overlaps another clip. To set the project to truncate mode: m Click the Overlap Mode button, located above the Global Timeline view.
To split audio clips with the playhead: 1 Set the playhead at the point where you want to split the clip, then select the clip or clips you want to split. You can split multiple clips in the same operation. Move the playhead to where you want to split the selected clip. 2 Choose Edit > Split (or press S). Every selected clip under the playhead is split into two segments. The first segment ends at the playhead position, and the second segment begins at the playhead position.
Transposing Tagged Audio Clips When you drag an audio file tagged with key information to the Timeline, Soundtrack Pro transposes the clip to the project key. You can transpose tagged clips to another key to create chord progressions from the same audio file or to achieve other musical effects. You can transpose a tagged clip to any interval from one octave above (+12 semitones) to one octave below (–12 semitones) its current key. Note: Soundtrack Pro uses the key tag in the audio file to transpose it.
The following table shows the correspondence between semitones and musical intervals for transposing clips: Number of semitones (+/–) Musical interval 1 Minor second 2 Major second 3 Minor third 4 Major third 5 Perfect fourth 6 Tritone (diminished fifth) 7 Perfect fifth 8 Minor sixth 9 Major sixth 10 Minor seventh 11 Major seventh 12 Octave Changing the Offset of an Audio Clip When you add an audio clip to the Timeline, the clip plays back from the beginning of the source audio fil
When you change the offset of a clip, the waveform moves inside the clip’s boundary to indicate the change in offset. The length of the clip stays the same. If the clip has not been resized, it will reach the end of the source audio file and start looping. As you move the offset by dragging, the clip’s notches move to show the point at which the clip will start looping. Changing a Clip’s Playback Mode Audio files you add to the Timeline can be either looping or non-looping.
To replace the source audio file for a clip: 1 In the Timeline, select the clip for which you want to replace the source audio. 2 Do one of the following: Â In the Media and Effects Manager, select the audio file you want to replace the selected clip’s audio with, then choose Clip > “Replace Selected Loops With [filename].
To replace the source audio file in all clips using the same source file: 1 Select all occurrences of the clip for which you want to replace the source audio file, following the steps described in “Selecting Audio Clips” on page 107. Every clip using the same source audio file is selected. 2 Replace the source audio file with another source audio file, following the steps described in “Replacing the Source Audio in a Clip” on page 117.
Types of Markers Soundtrack Pro displays Final Cut Pro HD scoring markers, and lets you add your own markers to a project. You can add two kinds of markers: time markers and beat markers. The two types can be distinguished by their handles: Time markers have green handles, and beat markers have purple handles. Final Cut Pro HD scoring markers have orange handles. This section discusses how to work with time markers and beat markers in a project.
Naming Markers You can name time markers and beat markers, so that each marker can provide a unique visual cue to a specific point in the Timeline or Waveform Editor. For example, you can name markers to define sections of your project (Introduction, Verse, or Chorus), to reflect what’s happening in the music (Latin Rhythm or Fast Groove), or to serve as reminders for your workflow (Add Horns Here, Transpose to D, Insert Delay Effect).
Deleting Markers To delete a marker: m Click the marker handle to select the marker, then choose Edit > Delete (or press Delete). You can’t delete Final Cut Pro scoring markers in Soundtrack Pro.
6 Working in the Mixer 6 The Mixer gives you the tools to create sophisticated mixes for your projects. When you have added audio clips to your project and placed them in the Timeline, you mix the project. Mixing is where you balance different elements, such as dialogue, music, and sound effects, bring focus to key moments and events in the project, and create a sense of perspective by placing sounds in space. When you finish mixing, you have one or more final mixes that you can export.
Steps in Mixing Mixing a project typically involves the following steps:  Balancing relative volume levels  Panning tracks to create perspective  Adding EQ, compression, and other processing using effects  Using automation to create changes over time  Setting the overall project volume and eliminating clipping You can perform these steps in any order, and move back and forth between them as you create the mix.
Working With Channel Strips in the Mixer The Mixer features a series of vertically arranged controls called channel strips, like the channel strips in a hardware mixing console. The channel strips in the Mixer correspond to the tracks, busses, and outputs in the project Timeline. Channel strip The controls a channel strip contains depend on whether it is a track, bus, or output channel strip.
The channel strips in the Mixer make it easy to see the settings for all the tracks, busses, and outputs in your project at once, and to adjust those settings relative to each other as you create the overall mix. In the Mixer, the channel strips appear in order corresponding to their order in the Timeline. Top-to-bottom order in the Timeline corresponds to left-to-right order in the Mixer. You can reorder tracks in the Mixer, and have the new order reflected in the Timeline.
Reordering Channel Strips You can change the order of channel strips in the Mixer. When you open the Mixer, the order of channel strips corresponds to the order of tracks, busses, and outputs in the Timeline. Because channel strips are oriented horizontally in the Mixer, top-to-bottom order in the Timeline corresponds to left-to right order in the Mixer. Reordering channel strips in the Mixer also changes their order in the Timeline.
To set the volume level of a channel strip, do one of the following: m Drag the volume fader up to raise (increase) the volume, or drag it down to lower (decrease) the volume. m Click along the length of the volume fader at the point you want to set the volume level. m Click the left or right arrows on the edges of the volume value slider. m With the pointer over the center of the volume value slider, hold down the mouse button and drag left or right.
Setting Channel Strip Pan Position You pan sounds to different positions to place them in the stereo field from left to right. You set the pan position of a track or bus channel strip using the channel strip pan slider or value slider. You can’t pan an output channel strip. To set the pan position of a channel strip, do one of the following: m Drag the pan slider left or right to the pan position you want. m Click along the length of the pan slider at the point you want to set the pan position.
To set the physical output channel for an output in the Mixer: m In the channel strip for the output, choose the physical output channel, or pair of channels, from the Output pop-up menu. Note: You can create outputs independently of the audio hardware connected to your computer, and route audio to an output that does not correspond to a physical output. In most situations, each output in a project should correspond to a physical output on the audio interface or other hardware connected to your computer.
Enabling Track Channel Strips for Recording You can enable a track channel strip for recording. When you enable a track channel strip for recording, audio will be recorded on the track when you click the Record button in the transport controls. You can’t record to a bus or output channel strip. To enable a track channel strip for recording: m Click the Record Enable button in the channel strip. Click the button again to disable the channel strip for recording.
Showing and Hiding Sections of the Mixer You can show or hide sections of the Mixer window and of the channel strips. Hiding sections of the Mixer and the channel strips can be helpful especially when using Soundtrack Pro with a smaller computer display, or when working on projects with a large number of tracks, busses, or outputs.
Using the Channel Strip Level Meters Each channel strip includes stereo level meters to the right of its volume fader. You can use the level meters to observe each channel strip’s level as the project plays. The level meters range from –96 dB to 0 dB, moving from bottom to top as the level increases. The segments of the level meters run from green through yellow to orange as the level increases. At the top of each set of level meters is a peak indicator.
Removing Channel Strips You can remove a channel strip from the Mixer if you decide you no longer want it in the project. To remove a channel strip: 1 Select the channel strip. 2 Choose Multitrack > Remove [item]. The term indicated by [item] changes in the menu depending on whether a track, bus, or output is selected. Note: If audio from a track is sent to a bus or output, and you remove the bus or output, the audio from the track will not be heard when you play the project.
Showing Channel Strip Effects Settings Once you add an effect, you can view and adjust its settings in the Effects tab. To show an effect’s settings in the Effects tab: m In the channel strip, Control-click the effect, then choose Show [effect name] Settings from the shortcut menu. The Effects tab becomes active, and shows the selected effect’s settings.
Turning Effects Off and On You can turn off a channel strip’s effects. Turning off an effect lets you hear the channel strip without the effect, while preserving the current effects settings. To turn off an effect in a channel strip, do one of the following: m Deselect the checkbox to the left of the effect name. m Control-click the effect, then choose Disable [effect name] from the shortcut menu.
Adding Sends to a Channel Strip You can add sends to a channel strip, show send settings in the Effects tab, bypass a send, or remove a send in the Mixer. To add a send to a channel strip: m Control-click an empty effects slot in the channel strip, choose Add Send from the shortcut menu, then choose one of the available effects from the categories in the submenu. When you add a send, the audio is routed from the send to a bus.
Setting the Overall Project Volume Level As you finalize a project mix, you set the overall project volume to the appropriate level. Certain formats or methods of distribution may require that the project conform to a particular maximum level. In general, you set the overall volume of the project to the highest level at which no clipping occurs at any point in the project. Clipping occurs when the digital audio signal exceeds the maximum level that can be reproduced accurately.
The Meters tab also includes peak indicators, Value and Location displays and Go to Peak buttons for each stereo channel, and a Reset button. You can use these controls to locate and remove clipping from your project. Using the Peak Indicators At the top of the level meters is a rectangular peak indicator, which lights red when that channel clips (exceeds 0 dB).
Listening to a Temporary Mono Mix In some situations, even where the final mix is stereo, you may want to listen to the mix in mono as well as stereo. If the final project is likely to be viewed using equipment with mono audio output (for example, many television sets have mono output), you may want to make sure the mix is suitable for mono output. Listening to a mono mix can also help identify phase issues that can occur when a stereo project is played in mono.
Creating Multiple Mixes You might want to create multiple mixes of a project for one of the following reasons:  To optimize the project for different playback situations  To try out different settings of the various track and master controls using the same arrangement  To try out changes to the arrangement using the same basic material You can easily create multiple mixes by giving the project a slightly different name when you save each mix, or by using different combinations of tracks, busses, and outp
7 Working in the Waveform Editor 7 You can edit audio files nondestructively in the Waveform Editor, and analyze and fix common audio problems. The Soundtrack Pro Waveform Editor gives you extensive audio file editing capabilities.
Getting Started With Audio File Projects You can create audio file projects, open audio files in the Waveform Editor, create a new audio file, and save an audio file as an audio file project.
Creating and Opening Audio File Projects You start working in the Waveform Editor by creating an audio file project, opening an existing audio file project, or opening an audio file in the Waveform Editor. To create a new, blank audio file project: m Choose File > New > Audio File. To open an audio file project or audio file in the Waveform Editor, do one of the following: m Choose File > Open (or press Command-O), locate and select the project or file, then click Open.
Saving Audio File Projects You can save a project as an audio file project or as a standard audio file, and can choose other options when you first save the file. Audio file projects are saved with the extension .stap. Saving a project as an audio file project lets you make changes to actions and other edits when you reopen the project in the Waveform Editor. You can also save a project as a standard audio file.
For audio file projects sent from Final Cut Pro or Motion and for reference movies, the original source media file (whether video or audio) is not saved in the project by default, but instead a reference to the media file is saved. You can save the source media file in the project. Saving the source media file in the project allows you to move the project to another computer or storage device and continue working, but can significantly increase project size.
7 Click Save. When you save an audio file with the same name, location, and extension as the original audio file, you overwrite the existing audio file. Setting the Time Ruler Units in the Waveform Display You can set the Time Ruler units in the waveform display to any format in the Time Ruler Units submenu. To set the Time Ruler units in the waveform display: m Choose View > Time Ruler Units, then choose a format from the submenu.
Choosing the Sample Units in the Waveform Display Along the left edge of the waveform display is a scale of sample units for the audio file. You can set this scale to any of the following sample units:  Sample Value  Normalized  Percent  Decibels To set the sample units in the waveform display, do one of the following: m Choose View > Time Ruler Units, then choose a format from the submenu.
To zoom in to see individual samples: m Choose View > Zoom To Samples. If you have previously zoomed in to a level where individual samples are visible in the waveform display, choosing Zoom To Samples zooms in to the same zoom level. To zoom out to see the entire waveform: m Choose View > Zoom To Peaks. If you have previously zoomed out to a level where waveform peaks are visible in the waveform display, choosing Zoom To Peaks zooms out to the same zoom level.
Viewing an Audio File in Spectrum View When you first open the Waveform Editor, it shows the audio file in Waveform view. You can also view and edit an audio file in Spectrum view. In Spectrum view, the display shows the frequency spectrum of each channel of a stereo audio file on a scale from 0 Hertz (Hz) to half the sample rate of the file. For example, for a 48 kHz audio file, the scale progresses from 0 Hz to 24 kHz.
To show the frequency spectrum on a logarithmic scale: m Control-click the Sample ruler along the left edge of the display, then choose Logarithmic from the shortcut menu. To show the frequency spectrum on a linear scale: m Control-click the Sample ruler along the left edge of the display, then choose Linear from the shortcut menu. To display the audio file in Spectrum view, part of the audio data for each given point in time is analyzed.
Scrubbing Audio Files in the Waveform Editor You can also scrub the audio file in the Waveform Editor. Scrubbing the audio file lets you hear the audio at the playhead position as you drag the playhead, so you can find a particular sound or event in the audio file. To scrub an audio file: 1 Press and hold the triangular part of the playhead. 2 While holding the playhead, drag left or right at the speed you want to scrub the audio file.
Editing Audio Files in the Waveform Editor You can edit audio files in many different ways in the Waveform Editor. You can edit the entire file, or select part of the file to edit. Selecting Part of an Audio File When you apply an action to an audio file in the Waveform Editor, the action is applied to the entire file unless you select part of the file. You can select different parts of the audio file and apply different actions to each selection.
To select the entire audio file: m Choose Edit > Select All. You can select one channel (left or right) of a stereo audio file, and apply actions to only the selected channel. You can also select only part of one channel. To select the left channel of an audio file: 1 Move the pointer near the upper edge of the waveform display. The pointer changes to the letter “L.” 2 Drag the pointer to select the part of the left channel you want to work with.
To select the right channel of an audio file: 1 Move the pointer near the lower edge of the waveform display. The pointer changes to the letter “R.” 2 Drag the pointer to select the part of the right channel you want to work with. Right channel selected As you drag, the left (upper) channel of the audio file becomes darker in the waveform display. You can also double-click in the lower part of the waveform display to select the entire right channel.
Moving Between Selections You can select different areas of the audio file to apply different actions or to play different areas. Any selection can include the same part of an audio file as another selection. As you work on the audio file, you can move back and forth between selections. Waveform View button Next Selection button To move to the previous selection: m Click the Previous Selection button above the waveform display. The previous selection becomes the current selection.
To paste audio in the Waveform Editor: 1 Set the playhead to the point where you want to paste the audio. 2 Choose Edit > Paste (or press Command-V). The cut or copied audio is pasted starting at the playhead position. The audio after the playhead in the file moves to accommodate the pasted audio, and the file lengthens by the pasted amount. You can also paste mix in the Waveform Editor. When you paste mix, the pasted audio is mixed (or blended) with the existing audio in the audio file.
Graphically Editing Audio Files The Waveform Editor includes four waveform editing tools you can use to graphically edit the audio file in the waveform display. Selection Tool You can use the Selection tool to select part of an audio file, as described in “Selecting Part of an Audio File” on page 154. When you open the Waveform Editor, the pointer is a selection pointer (arrow).
Stretch Tool You can time stretch all or part of an audio file to change the amount of time it occupies. When you stretch an audio file, the length of time changes but not the pitch (letting you fill dialogue, music, or other audio to a specific amount of time). For audio files with music or other repeating patterns, stretching the file changes the tempo of the music without changing the key.
Processing Audio Files You can process audio files in the Waveform Editor in a variety of ways. You can choose processing effects and other operations from the Process menu and apply them to an entire file, or select part of the file and apply the effect to the selection. When you choose an item from the Process menu, the item appears as an action in the Actions list.
 Reset button: Resets all effect parameters to their default values.  Cancel button: Closes the advanced settings window without applying the effect.  Apply button: Applies the effect to the audio file or selection and closes the advanced settings window.  Show/Hide Presets button: Shows or hides the Presets drawer so you can apply effect presets. For information about applying effect presets in the Waveform Editor, see “Working With Effect Presets” on page 217.
Adjust Amplitude Choosing this command raises or lowers the gain of the audio file or selection by the amount shown in the Amplitude Level field. When you choose Process > Adjust Amplitude, the level shown in the field is zero (0) dB, or unity gain. To set the amplitude level: 1 Choose Process > Adjust Amplitude. 2 In the Adjust Amplitude dialog, drag the Amplitude Level slider or select the value in the Amplitude Level field and type a new value. 3 Click OK.
To set the length of the inserted silence: 1 In the Insert Silence sheet, choose the format you want to use from the Format pop-up menu. 2 In the “Length of silence to insert” value slider, do one of the following: Â Click the left arrow to shorten the length of the inserted silence, or click the right arrow to increase the length. Â Click the center of the value slider, then drag the slider that appears left or right to change the length of inserted silence.
To set the volume level of the inserted noise: m In the Noise Generator dialog, drag the Volume slider left or right to set the noise level. You can also type a level (in decibels) in the Volume field. Inserting a Waveform When you choose Process > Insert, then choose Waveform from the Insert submenu, the Wave Generator dialog appears.
Time Stretch You can time stretch an audio file or selection. When you time stretch an audio file, you change the duration (length) of the file without changing the frequency (pitch) of the file. For example, for a file containing music, the tempo of the music is changed, but not the pitch. When you time stretch an audio file, you can choose the format for time values you enter. To time stretch an audio file: 1 Select the part of the file you want to time stretch (it can be the entire file).
Apply Ambient Noise The Apply Ambient Noise command applies the ambient noise stored in the ambient noise buffer to the audio file or selection. To apply ambient noise to an audio file: 1 In the waveform display, select the part of the audio file to which you want to apply the ambient noise. 2 Choose Process > Apply Ambient Noise. The ambient noise replaces the selected part of the file. If the selection is longer than the copied ambient noise, the ambient noise repeats to fill the selection.
Reducing Noise Some audio files contain unwanted noise, making it difficult to hear the voices, music, or other content of the file. Soundtrack Pro features two commands, Set Noise Print and Reduce Noise, that you can use together to reduce noise in an audio file or selection. Set Noise Print The Set Noise Print command lets you select part of an audio file containing only the noise that you want to remove as a “noise print.
To set the threshold of the noise reduction: m In the Reduce Noise dialog, drag the Noise Threshold slider left to lower the threshold or drag it right to raise the threshold. You can also type a value (in decibels) in the Noise Threshold field. To change the tone of the noise reduction: m In the Reduce Noise dialog, drag the Tone Control slider left to preserve more low frequency content (bass) or drag it right to preserve high frequency content (treble) during noise reduction.
Show Realtime Effects In addition to processing effects, you can apply realtime effects to an audio file project. The Show Realtime Effects command shows the Effects tab with any realtime effects applied to the current audio file project. You can apply realtime effects to the project in the Effects tab, and can automate realtime effect parameters in the Waveform Editor. To show realtime effects for the current audio file project: m Choose Process > Show Realtime Effects.
Applying Actions You start working with actions by applying an action to the audio file or the currently selected part of the file. To apply an action: 1 With the file open in the Waveform Editor, choose an item from the Process menu. The item appears in the Actions list. Effects button Actions/Analysis buttons Actions menu Actions Action Insert bar 2 Some actions have a dialog that appears when you choose the item from the Process menu. Adjust the settings in the dialog, then click Apply.
Editing Actions Many actions have settings that you can edit. When you apply an action that has editable settings, a dialog or sheet appears, letting you edit the action’s settings. You can edit an action’s settings at any time you are working in the Waveform Editor. To show an action’s settings, do one of the following: m In the Actions list, select the action you want to edit, then choose “Edit Settings For [action name]” from the Actions pop-up menu.
Using the Action Insert Bar The Action Insert bar appears as a purple bar along the left side of the Actions list. As you apply actions, the Action Insert bar moves below the last action applied. Action Insert bar You can move the Action Insert bar up or down to a new position in the Actions list. Only actions before the Action Insert bar are heard when you play the project, so you can control which actions are heard by moving the bar.
Reversing the Order of the Actions List You can reverse the order in which actions are shown in the Actions list, so the last action applied appears at the top of the list. This is useful when your project has a large number of actions. To reverse the order of the Actions list: m Click the triangle at the upper-right corner of the Actions list. Click the triangle again to return the list to its default order.
To flatten all actions, do one of the following: m Choose Process > Flatten All Actions. m Choose “Flatten all actions” from the Actions pop-up menu. Comparing the Project With and Without Actions When you are adding and adjusting actions, you may want to compare the results of your changes to the original file. To hear the file without actions: 1 Choose “Play without actions” from the Actions pop-up menu. 2 Click Play or press the Space bar.
Deleting Actions You can delete an action if you decide you no longer want it in the project. To delete an action: m Select the action in the Actions list, then press Delete. Limitations of Actions That Change the File’s Length Some actions change the overall length of the audio file by inserting or deleting audio. These include inserting silence, noise, or a waveform, time stretching, and deleting part of a file.
Analyzing an Audio File Soundtrack Pro includes a set of audio analysis tools. You can analyze an audio file for common problems such as clicks and pops, hum, phase issues, and clipping, and fix them individually or in a single operation. When you analyze an audio file, you can select which types of analysis to perform. To show the analysis lists and tools: m In the Waveform Editor, click the Analysis button.
Types of Audio Analysis The following types of analysis can be performed in the Waveform Editor: Clicks and Pops Sudden, short peaks in the audio file can result from a variety of causes, including mechanical defects in analog recordings. You can set the threshold above which Soundtrack Pro considers peaks to be clicks or pops. (Power Line) Hum Power lines and other electrical equipment can produce a steady hum, often at 50 or 60 Hz. The hum can also include low-order harmonics of the fundamental frequency.
Setting Analysis Parameters The Clicks and Pops and Silence analysis types have parameters you can set. Each type has a Threshold slider you can drag to set the threshold for detecting clicks and pops or detecting silence. To set analysis parameters: 1 In the Analysis Type list, click the disclosure triangle for the analysis types for which you want to set parameters. 2 Drag the Threshold slider left to lower the threshold or right to raise the threshold. You can also type a value in the Threshold field.
Zooming In on Analyzed Problems You can zoom in on an item in the Results list using the Magnify button, so you can see the problem area of the audio file closely. To zoom in on an item in the Results list: 1 In the Results list, select the item. 2 Press and hold the Magnify button, located at the bottom of the Results list. Magnify button The waveform display zooms in on the problem area for as long as you hold the Magnify button.
Using Markers in the Waveform Editor You can insert markers in an audio file project in the same way as in a multitrack project. Markers can be useful for indicating where a specific sound, cue, or event begins or ends in the audio file. They can also be useful for indicating an area of an audio file you want to time stretch. When an audio file project has two or more markers, you can select the area between two markers by double-clicking in the waveform display.
Applying a Saved Droplet to a Clip in Final Cut Pro You can apply a series of actions saved as a droplet to a clip in Final Cut Pro. To apply a saved droplet to a clip in Final Cut Pro: m In the Final Cut Pro Timeline or Bin, Control-click the clip, choose Send To > Soundtrack Pro Script from the shortcut menu, then choose the droplet you want to apply from the submenu. Soundtrack Pro opens with the clip visible in the Waveform Editor.
8 Working With Video in Soundtrack Pro 8 You can import a video into a multitrack or audio file project, view the video as you work on your project, edit the video’s audio, and use markers to synchronize audio and video. When you import a video, the video appears in the Video tab of the Utility window. When you import a video into a multitrack project, a video clip appears in a video track in the Timeline.
Adding a Video to a Project You can import a video file by dragging the file from the Media and Effects Manager or from the Finder. You can import only one video file into a project. To import a video file into a project, do one of the following: m Drag the video file from the Media and Effects Manager or the Finder to the Video tab of the Utility window. m Drag the video file from the Media and Effects Manager or the Finder to the video track in the Timeline.
Playing the Video When you play the project, the video plays in time with the audio in your project. You can also control playback of the video and the project using the video transport controls in the Video tab, or using keyboard shortcuts. Video transport controls      Play from Beginning: Starts playback from the beginning of the video. Previous Frame: Moves the video back one frame. Play: Plays the video from the current playhead position. Next Frame: Moves the video forward one frame.
Controlling Video Playback Using Keyboard Shortcuts There are a number of keyboard shortcuts you can use to control playback of the video in the Video tab. To use keyboard shortcuts, the pointer cannot be in a text field. Â Space bar: Plays the video from the current playhead position. This is equivalent to clicking the Play button. Â Return: Sets the playhead to the beginning of the video. If the playback region is active, pressing Return sets the playhead to the beginning of the playback region.
Using Video Output Devices You can connect an external video output device to your computer and play your project through the video output device. This can be especially useful in cases where you are using Soundtrack Pro as the final step in producing the overall project, or when you want to show the current version of the project to a client or other party while working on the project in Soundtrack Pro.
To switch off output to an external video output device: m Choose View > Show > Show External Video. If you have added the Video Out button to the Toolbar, you can also click the button to switch off the device. To switch on output to an external video output device: m Choose View > Show > Show External Video. If you have added the Video Out button to the Toolbar, you can also click the button to switch on output to the device. A video output device can only be controlled by one application at a time.
To preview a video file in the Details tab: 1 If the Details tab is not visible, click the Details button to make it active. 2 In the Media and Effects Manager, select the video file you want to preview. 3 In the Preview controls at the bottom of the window, click Play. Working With a Video’s Audio You can edit the audio clip of the video’s audio as with any audio clip in the project. You can move and resize the video’s audio, split and join it, or open it in the Waveform Editor for processing or analysis.
Using the Time Display and Time Ruler With Video When you import a video file into a Soundtrack Pro project, the Time display and Time ruler adjust to show the timecode format of the video. The Time display and Time ruler can display time in seconds, frames, drop frames, or non-drop frames. You can choose the format for timecode display, and can set the video frame rate for projects not containing a video file. You can also set the default frame rate for new projects in the Project Preferences pane.
Using Markers With Video Soundtrack Pro displays Final Cut Pro scoring markers included in a video file imported from Final Cut Pro. You can add time markers at points in time corresponding to specific timecode positions in the video clip, and align audio clips with markers using the snap feature. When you add a marker to a project containing a video, the video clip displays the frame of the video that occurs at the marker’s position in time.
To align an audio clip with a marker: m Make sure that snap is turned on and that Markers is selected in the View > Snap to menu, then drag the clip to the position of the marker in the Timeline. With Markers selected, you can align a clip with a marker. Scoring a Marker to the Playhead For tracks set to Beats-based time format, you can score a time marker or Final Cut Pro scoring marker to the playhead, so that you can synchronize the audio with the video.
To score a marker to the playhead: 1 Select the marker’s handle at the top of the Timeline, above the Time ruler. Click the marker handle at the top of the Timeline. 2 Choose Mark > Score Marker to Playhead. The marker is scored to the playhead. You can also adjust the tempo relative to a marker’s position by Option-dragging the marker in the Timeline. As you drag, the red segment of the tempo envelope moves vertically as the tempo changes.
Removing a Video From a Project You can remove a video if you decide you no longer want to use it in the project. To remove a video clip from a project, do one of the following: m Select the video clip in the Timeline, then choose Edit > Delete (or press the Delete key). m Control-click the video clip, then choose Remove Video from the shortcut menu. When you remove the video from a project, the audio clip of the video’s audio is not deleted, but remains in the project.
9 Working With Audio Effects 9 You can modify the sound of your project in many ways using audio effects. Soundtrack Pro includes a complete set of professional-quality audio effects you can use in your projects. You can use audio effects to add both subtle and dramatic changes to audio clips in a multitrack project or to an audio file project.
Processing Effects You can apply processing effects to an audio file project. The Process menu includes an Effects submenu where you choose processing effects to add to your project. Processing effects are added as actions, which you can turn on or off, reorder, and adjust in the Actions list. For information about working with processing effects in the Waveform Editor, see “Working With Processing Effects” on page 216. For information on working with actions, see “Working With Actions” on page 170.
Dynamics Effects Dynamics effects let you adjust the dynamic range (the range between the softest and loudest sounds) of your projects. You can use dynamics effects to make sounds more focused and to optimize the sound for specific playback situations. Dynamics effects include compressors, limiters, and noise gates. Compressors Compressors work like an automatic volume control, lowering the volume whenever it rises above a certain level, called the threshold.
Limiters Limiters (also called peak limiters) prevent the audio signal from exceeding a maximum volume level. A compressor gradually attenuates levels above the threshold, but a limiter puts a hard limit on any signal louder than the threshold. You use a limiter mainly to prevent clipping. Noise Gates A noise gate alters the signal in the opposite direction from a compressor. While a compressor lowers the volume of sounds above the threshold, a noise gate lowers the sounds below the threshold.
Frequency Ranges Used With EQ All musical sounds can be categorized into one of three basic frequency ranges: bass, midrange, or high (also called treble). These can be further divided to include low bass, low and high midrange, and low and high highs. The following table describes some of the sounds affected by each range: Name Frequency range Description High High 8–20 kHz Includes cymbal sounds and highest harmonics of instruments.
Name Frequency range Description Bass 50–250 Hz Corresponds roughly to the bass tone control on a stereo. Includes the fundamental frequencies of voices and of musical instruments. Excessive boosting in this range can sound boomy and thick. Low Bass 50 Hz and below Also called sub bass. Very little of the sound of voices or musical instruments falls in this range. Many sound effects used in movies, such as explosions and earthquakes, fall in this range.
Graphic EQs Graphic EQs give you a set of filters (often with 10 or 31 filters), each with a set center frequency and bandwidth. Using a graphic EQ, you can shape a wide variety of frequencies throughout the frequency range. Graphic EQs can be used to shape the sound of the overall project mix. Parametric EQs Parametric EQs are similar to bandpass EQs, but provide a greater amount of control, and can be used for extremely precise adjustments.
Phase Shifters Phase shifters produce a characteristic “whooshing” sound by combining the original signal with a copy of the signal that is slightly out of phase with the original. This means that the amplitudes of the two signals’ sound waves reach their highest and lowest points at slightly different times. The time between the two signals is modulated, typically using an LFO.
Delay effects let you set the delay time, the time between the original signal and the delayed signal. Delays often provide parameters for feedback (also called regeneration), which let you set how much of the delayed signal is fed back into the delay’s input, creating more repetitions of the delay (like the number of “bounces” in an echo).
 High-frequency and low-frequency reverb time: These parameters let you specify the decay of higher and lower frequencies separately. Different surfaces, such as wood floors and concrete walls, absorb high and low frequencies at different rates, and these parameters let you simulate the sound of different environments more closely.  Reverb envelope: Lets you control how much the volume of the reverb changes over time. In natural acoustic situations, the reverb echoes decay gradually over time.
Spectrum Analyzer The Spectrum Analyzer divides the audio signal into 31 independent frequency bands. Each frequency band represents one third of an octave. The filter curves comply to IEC document 1260. You turn on the Spectrum Analyzer by clicking the Analyzer button. Turning on the Spectrum Analyzer turns off the Goniometer. The four buttons below determine what portion of the input signal the Analyzer is displaying. You can choose between Left or Right channel only.
Miscellaneous Effects Miscellaneous effects don’t fall into any of the other categories. They include denoising effects, pitch shifting effects, stereo enhancers, bass enhancers, and effects used to transform the sound of vocals. Each effect gives you a different way to modify the audio, and includes a unique set of parameters. Denoiser Using the Denoiser, you can eliminate or reduce many kinds of low-level noise (noise floor) from an audio signal.
Stereo Spread The Stereo Spread plug-in is a useful effect for sound design or audio clean-up. It enhances the perception of stereo by extending the stereo base. Some stereo enhancing algorithms function by changing the phase of the signal, which can distort your mix and produce unpredictable results. Instead, the Stereo Spread plug-in extends the stereo base by distributing a selectable number of bands in the middle frequency range alternately left and right.
Adding Realtime Effects You can add realtime effects in the Effects tab. You can create effects chains, which are a series of effects in a specific order. You can reorder effects in an effects chain at any time, and hear the results immediately. To add a realtime effect to a track, bus, or output in the Timeline: 1 Click the Effects button in the header of the track, bus, or output in the Timeline.
To add a realtime effect to an audio file project in the Waveform Editor: 1 In the Waveform Editor, click the Effects button, located next to the Actions and Analysis buttons. 2 In the Effects tab, select a category in the Category list to display the effects for that category in the Effect list. 3 In the Effect list, do one of the following: Â Double-click the effect you want to add to the track. Â Select the effect name, then click the Add Effect button. Â Drag the effect to the Effect Parameters area.
Chaining and Reordering Realtime Effects You can add more than one realtime effect to a track, bus, output, or audio file project. Adding multiple effects to an effects chain is called chaining effects. When you add multiple effects, the effects are applied in sequence, meaning that the output of the first effect becomes the input for the next effect, and so on, for each effect in the chain.
To reorder effects in an effects chain: m In the Effect Parameters area, drag the effect up or down in the list to change its order. Drag effects up or down in the list to reorder them. Bypassing Realtime Effects You can turn off an effect in the Effects tab, which “bypasses” the effect in the effects chain. When you bypass an effect, the effect is not heard, but all effect parameters are retained. To hear the effect again, reselect the effect’s checkbox.
Adding Sends to Tracks You can add sends to a realtime effects chain. When you add a send, the send is added at the end of the current effects chain. You can move the send to another place in the effects chain, choose the bus for a send, adjust send volume and pan, and bypass a send. To add a send to a track: m In the Effects tab, click the Add Send button. A send appears below the last effect in the track’s effects chain. You can assign the send to a bus in the Effects tab or the Mixer.
Adjusting Send Volume You can adjust the volume level for the audio routed through a send. To adjust send volume: 1 If the send volume slider is not visible, click the disclosure triangle for the send. 2 Drag the send volume slider left to lower the volume level, or drag it right to raise the volume level. Adjusting Send Pan Position You can adjust the pan position for the audio routed through a send.
To automate a realtime effect parameter: 1 In the Effects tab, select the Auto checkbox next to the parameter’s control. 2 In the Timeline or in the Waveform Editor, show the envelopes for the track, bus, output, or audio file project. In the Timeline, you show the envelopes for the track, bus, or output with the effect. In the Waveform Editor, you show the envelopes for the audio file project. 3 Add and adjust envelope points in the effect’s envelope.
Advanced Settings for Realtime Effects Many realtime effects have an advanced settings window. The advanced settings window appears as a floating window with related controls grouped together, and may provide an appearance that simulates a hardware effects device. Effects with an advanced settings window have an Advanced button at the top of the Effect Parameters area in the Effects tab. Advanced settings windows can contain different kinds of controls.
Working With Processing Effects You can apply processing effects to an audio file or a selected part of a file in the Waveform Editor. In the Waveform Editor, you apply a processing effect by choosing the effect from the Effects submenu of the Process menu, as described in “Applying Actions” on page 171. Processing effects are applied as actions, and appear in the Actions menu of the Waveform Editor.
Working With Effect Presets Some effects have several combined parameter settings called presets. For example, the MatrixReverb effect (in the Mac OS category) has presets for various sizes of room, hall, and chamber settings, as well as Plate reverb and Cathedral settings. If an effect has presets, the presets appear in a Factory Presets pop-up menu in the list of effect parameters.
To apply an effect preset: 1 Select the preset you want to apply from either the Factory Preset or User Preset list in the Presets drawer. 2 Click the Load Preset button. To adjust effect preset parameters: m Adjust the controls in the advanced settings window for the preset. To delete a preset: 1 Select the preset in the Presets drawer. 2 Click the Delete Preset (–) button. To hide the Presets drawer: m Click the Hide Presets button in the advanced settings window.
10 Working With Automation 10 Using automation, you can create changes over time to volume, pan, effects, and other controls. Automation offers a powerful way to add drama and interest to your projects. You can automate volume and pan changes to tracks, busses, and outputs and automate changes to effect and effect send parameters in multitrack projects. You can also automate volume, pan, and effects changes in audio file projects.
Track, Bus, and Output Envelopes Each track and bus has envelopes for volume and pan, and each output has a volume envelope. By default, the envelopes are hidden. When you show the envelopes, they appear in rows below the track, bus, or output in the Timeline. Click the envelope disclosure triangle. The envelopes are displayed below the track, bus, or output. To show the envelopes for a track, bus, or output: m Click the envelope disclosure triangle in the track header.
To show or hide the master envelopes, do one of the following: m Choose View > Show Master Envelopes. m Click the Master Envelopes button in the lower-left corner of the Project window. m Click the Master Envelopes disclosure triangle in the Timeline. Repeat the procedure to hide the master envelopes. The ranges of the master envelopes are as follows: Â Master transpose envelope: Ranges from –12 semitones to +12 semitones. Â Master tempo envelope: Ranges from 60 bpm to 200 bpm.
Selecting Envelope Points You can select a single envelope point or a group of adjacent or nonadjacent envelope points. To select an envelope point: m Click the envelope point. To select multiple envelope points, do one of the following: m Drag from an area in the automation row before the first envelope point you want to select to an area after the last envelope point you want to select.
To move an envelope point: m Select the envelope point, then drag it to a new position. Each envelope has an envelope point at the beginning of the Timeline. You can adjust the envelope by moving this envelope point up or down. If no envelope points have been added, dragging the envelope’s handle adjusts the envelope for the entire project. If you add more than one envelope point to an envelope, you can move envelope points using the corresponding slider.
Viewing and Editing Envelope Point Details You can also view and edit the value, position, and other details for an envelope point in the Details tab. To view envelope point details: 1 In the Utility window, click the Details tab. 2 Select the envelope point for which you want to view details. The details for the envelope point appear in the Details tab, including its value and position.
To change the units shown in the Position value slider: m Choose the units you want to show from the pop-up menu next to the Position value slider. To copy the value of the previous envelope point: 1 With the Details tab active, select the envelope point to which you want to copy the value. 2 In the Details tab, click Copy From Previous Point. To copy the value of the next envelope point: 1 With the Details tab active, select the envelope point to which you want to copy the value.
To paste envelope points: m Set the playhead to the point where you want to paste the envelope points, then choose Edit > Paste (or press Command-V). When you paste envelope points into an automation row, the new envelope points replace any existing envelope points, and the automation takes the shape of the cut or copied envelope in the pasted area. Pasting envelope points into an envelope replaces the existing area of the envelope with the cut or copied area.
Automating Effect and Send Parameters You can automate effect parameters for tracks, busses, and outputs, and for audio file projects by adding envelopes for the effect parameters, then adding and adjusting envelope points. You can also automate send parameters for tracks by adding an envelope for the send parameters, then adding and adjusting envelope points. To add an envelope for an effect or send parameter: 1 Open the Effects tab and select the effect you want to automate.
Recording Automation Data In addition to working with envelopes, you can record automation data in Soundtrack Pro. You can record movements you make to faders, sliders, and other onscreen controls using the pointer. You can also connect a supported control surface to your computer and record movements to controls on the control surface.
Thinning Envelope Points in Recorded Automation Data Recording automation data can generate a large number of envelope points. The number of envelope points recorded can make editing envelopes difficult, and in some cases affect playback performance. You can reduce or “thin” the number of envelope points recorded from a control surface in the Project Preferences. You set the amount of thinning using the Automation Recording Sensitivity slider.
To select a Timeslice from multiple tracks: 1 Click in the selection bar of the topmost track you want to include in the Timeslice, at one end of the area you want to select. Click in the selection bar of the topmost track you want to include in the Timeslice. 2 Shift-click in the selection bar of the bottom track you want to include in the Timeslice at the opposite end of the area you want to select, or Command-click in nonadjacent tracks to add those tracks to the Timeslice.
To select a master Timeslice: m Drag in the selection bar of the video track, located above the Time ruler. Drag in the selection bar of the video track to create a master Timeslice. Cutting, Copying, and Pasting Timeslices You can cut or copy a Timeslice and paste it at a different position in the Timeline. To cut a Timeslice: m Select the Timeslice, then choose Edit > Cut (or press Command-X). To copy a Timeslice: m Select the Timeslice, then choose Edit > Copy (or press Command-C).
Deleting Timeslices To delete a Timeslice: m Select the Timeslice, then choose Edit > Delete (or press the Delete key). Changing the Timeslice Selection Area You can change the length of a Timeslice selection area to include more of the Timeline, either graphically or numerically. To extend the Timeslice selection area graphically: m Shift-click in any track included in the Timeslice at the point to which you want to extend it. Shift-click in the Timeline to extend a Timeslice.
To lengthen the Timeslice in increments: m Click the left arrow to lengthen the beginning of the Timeslice in increments, or click the right arrow to move the end of the Timeslice in increments. To lengthen the Timeslice dynamically: m Click the center area of the field (where the numbers are), then drag left to lengthen the beginning of the Timeslice, or drag right to lengthen the end of the Timeslice. For projects using Time-based format, the left and right arrows lengthen the Timeslice in seconds.
11 Recording Audio in Soundtrack Pro 11 You can record your own audio in a track in the Timeline, as well as recording audio in the Mixer and the Waveform Editor. You get ready to record by setting recording preferences and checking that your audio equipment is working. For multitrack projects, you enable a track for recording, or record audio in a new track. You can record a single take or record multiple takes.
Recording Audio in the Timeline You record in the Timeline by enabling a track for recording, setting the playhead, then clicking Record. You can record a single take or record multiple takes by turning on cycling before you start recording. When you finish recording, your recorded audio appears in a track in the Timeline. If you record multiple takes, you can audition each take to choose which one you want to use in your project.
To adjust recording settings: 1 In the Recording tab, choose the input device and channel (or pair of channels) from the Input Device pop-up menu. 2 Choose the device and channel (or pair of channels) to use for monitoring the recorded audio from the Monitor pop-up menu. 3 If you want to record without hearing the existing audio clips in the project, select the Mute Project checkbox. 4 If you want to record in mono, deselect the Stereo checkbox.
Recording Multiple Takes You can record multiple takes in the Timeline. You can record multiple takes using the playback region to define where each take starts and ends, or record for the duration of the project. When you record multiple takes, the takes are “stacked” in a single clip in the Timeline. You can audition each take, and can create composite takes by splitting the clip and choosing the take for each split segment.
To choose a take, do one of the following: m Select the clip, choose Clip > Recording Take, then choose the take number from the submenu. m Control-click the clip, choose Take from the shortcut menu, then choose the take number from the submenu. You can split a recorded clip, and choose the take for each segment of the split clip to create a composite take. You can also copy a clip onto several tracks, split the copies, and choose the take for each split copy of the clip.
Recording Audio in the Mixer You can record audio in the Mixer in a similar way to recording audio in the Timeline. You can record a single take or record multiple takes. If you want to record multiple takes using a playback region, you must set the playback region in the Timeline before you start recording in the Mixer.
As you record, the recorded area appears red in the waveform display. The level meters in the Recording tab show the levels of the input signal being recorded. If the input signal clips (rises above 0 dB), the peak indicator lights red.
12 Using Control Surfaces With Soundtrack Pro 12 You can connect and use control surfaces to automate recording, mixing, and other tasks in Soundtrack Pro. Control surfaces provide a set of hardware controls that let you mix and edit your projects with greater flexibility and precision than using a mouse to move onscreen controls. You can also change multiple parameters at once using a control surface. There are a variety of control surfaces available for use with video and audio production applications.
Adding and Deleting Control Surfaces When you have connected the MIDI interface to your computer, and connected the control surface to the MIDI interface, you add the control surface in Soundtrack Pro Control Surface Preferences. To add a connected control surface: 1 Choose Soundtrack Pro > Preferences, then click the Control Surfaces button. 2 Click the Add (+) button to add the control surface. The visual representation of the control surface appears in the panel in the upper part of the window.
Premapped Controls When you connect a control surface, many controls are premapped to work with specific Soundtrack Pro buttons and commands. Premapped controls include the following: Control Soundtrack Pro button or command Channel strip volume faders Track volume slider Channel strip rotary knobs Track pan slider Channel strip record ready buttons Track Record Enable button Channel strip select buttons Select the track.
3 In the Control Surface Buttons window, drag an action from the Available Commands list (on the right) to a button in the Control Surface Buttons list (on the left) to map the command to the button. 4 Optionally, you can search for commands and control surface buttons by typing text in the Search field, located at the upper-right corner of the window.
13 Exporting Multitrack Projects 13 Once you have created a final mix of a multitrack project, you can export the project mix. You can also export individual tracks, busses, or outputs, and export a multitrack project using Compressor. You can export a project to a stereo audio file and set the exported file’s bit depth and sample rate. You can export selected tracks, busses, or outputs to either a stereo audio file or paired mono files.
Exporting a Project Mix When you export a mix, all unmuted tracks routed to the first output (Output 1) are included in the exported file. You can exclude any tracks from the exported mix by muting those tracks. To export a project to a stereo audio file: 1 Choose File > Export > Export Mix. The Export dialog appears. 2 Choose a bit depth for the exported file from the Bit Depth pop-up menu. 3 Choose a sample rate for the exported file from the Sample Rate pop-up menu.
To export individual tracks, busses, or outputs: 1 In the Timeline or the Mixer, select the tracks, busses, or outputs you want to export, then choose File > Export > Export Selected [item]. The [item] shown in the menu changes depending on whether tracks, busses, or outputs are selected. If nothing is selected, each unmuted track, bus, and output in the project is exported as an individual AIFF file. 2 In the Export dialog, choose the sample rate for the exported files from the Sample Rate pop-up menu.
Exporting With Compressor You can export a project using the Apple Compressor application. When you export using Compressor, you can use the presets included with Compressor for your exported file. When you export a project using Compressor, you can preserve or encode the video. Preserving the video copies it to the exported file without transcoding. Encoding the video transcodes it to the new export format. Transcoding the video can take longer than copying, and can result in a loss of quality.
4 Do one of the following: Â To export the video in its original format, select Preserve Video, then choose an export preset from the adjacent preset pop-up menu. Â To export the video in a different format, select Encode Video, then choose an export preset from the adjacent preset pop-up menu. For information about using Compressor export presets, see “Using Compressor Export Presets” on page 251.
Distributing a Multitrack Project and its Media Files Together You can save a multitrack project with all of the media files it uses together in the same folder. Saving the project and its media files together is useful when you want to move the project from one computer to another in order to continue working on it, or to archive the project and media for later use. To save a project and its audio files together: 1 Choose File > Save. 2 In the dialog that appears, select the Collect Audio Files checkbox.
14 Using Soundtrack Pro With Apple Professional Applications 14 You can work with media files from Final Cut Pro, Motion, DVD Studio Pro, and other applications in Soundtrack Pro projects. Soundtrack Pro gives you several ways to work with media files from Final Cut Pro, Motion, DVD Studio Pro, and other Apple professional applications. You can edit individual audio files (including QuickTime movies) in the Waveform Editor, and you can open a group of clips or a sequence as a multitrack project.
Editing a Final Cut Pro Clip Nondestructively in the Waveform Editor You edit a Final Cut Pro clip nondestructively by sending it to the Waveform Editor as an audio file project. Sending a clip to the Waveform Editor as an audio file project lets you make roundtrips between Final Cut Pro and Soundtrack Pro. When you save your changes in the Waveform Editor, the clip is updated in Final Cut Pro without having to be reimported.
For any audio file project, regardless of whether it originated in Final Cut Pro or another application, you can select the Render checkbox when you save the project to save a render file with the project. When you have followed the steps described above, the clip is updated in Final Cut Pro. You hear the clip with the changes you made in the Waveform Editor without having to reimport the clip.
Editing a Clip Using a Soundtrack Pro Script You can edit a Final Cut Pro clip destructively using a Soundtrack Pro script while working in Final Cut Pro. When you send a clip to a Soundtrack Pro script, the clip opens in the Waveform Editor, the actions in the script are performed, the clip is saved with the changes, and the Waveform Editor moves to the background so you can continue working in Final Cut Pro.
To create a multitrack project from a group of clips or a sequence: 1 Do one of the following: Â Select the clips in the Final Cut Pro Timeline, Control-click one of the clips, then choose Send To > Soundtrack Pro Multitrack Project from the shortcut menu. Â Control-click a sequence in the Bin, then choose Send To > Soundtrack Pro Multitrack Project from the shortcut menu. A new multitrack project is created for the clips or sequence, and a Save As dialog appears.
To update a Soundtrack Pro multitrack project sent from Final Cut Pro: 1 In Soundtrack Pro, choose Export > Export Mix. 2 Import the exported project mix into the Final Cut Pro Timeline, replacing the original clips or sequence. 3 When you want to work on the project in Soundtrack Pro again, Control-click the clip of the exported mix, then choose Open in Editor from the shortcut menu. A dialog appears asking if you want to open the audio file or the original project. 4 In the dialog, click Open Project.
To send an audio track from Motion to the Waveform Editor: 1 In the Motion Audio tab or Timeline Layer list, select the audio track. 2 Choose Edit > Send Audio to Soundtrack. A new audio file project is created for the audio track, and a Save As dialog appears. 3 In the Save As dialog, type a name for the new project, and browse to a location to save the project. A new audio file project containing the audio track opens in the Soundtrack Pro Waveform Editor.
Using Soundtrack Pro With DVD Studio Pro You can edit a DVD Studio Pro clip destructively by opening it in the Waveform Editor. When you edit a clip destructively, you hear the clip with the changes you made in the Waveform Editor without having to reimport the clip. You can save the clip as an audio file project in the Waveform Editor, so you can reopen it later and continue editing.
Using Soundtrack Pro With Other Applications You can open an audio file exported from Soundtrack Pro (a project mix, an exported track, bus, or output, or an audio file project saved as an AIFF file or a QuickTime movie) in any application that supports audio files. When you save an audio file project using the Save As command, be sure the Render checkbox is selected in the Save As dialog.
Using Apple Loops Utility A Appendix A Some audio files you use in Soundtrack Pro can include metadata called tags. Tags provide information about the audio recorded in a file. Soundtrack Pro uses tags in one of two ways:  To help locate files using the Search feature in Soundtrack Pro  To provide information that Soundtrack Pro uses when matching the file’s tempo and key to the project tempo and key, for the best possible playback quality Both AIFF and WAV file formats can include tags.
The Apple Loops Utility Interface The Apple Loops Utility interface consists of a window with two tabs: the Tags tab and the Transients tab. The bottom of the window includes a set of playback controls and file management buttons. Apple Loops Utility also includes an Assets drawer, located to the right of the main window, where you manage open files.
Tags Tab The Tags tab includes areas for different types of tags, and also includes a set of playback controls you can use to listen to a file open in Apple Loops Utility. Listening to a file can help you decide which tags are appropriate for the file. Property Tags  Number of Beats field: Displays the number of beats in the file.  File Type buttons: Set the file type, which can be Non-looping or Looping.  Key pop-up menu: Sets the key of the file.  Scale Type pop-up menu: Sets the file’s scale type.
Search Tags These tags are used by the Search feature in Soundtrack Pro when you search for files matching specific criteria. Â Genre pop-up menu: Displays choices for the musical genre of the file. Â Instrumentation list: Displays choices for the musical instrument or instrument category recorded in the file. Selecting an instrument category in the left column displays the list of instruments in that category in the right column.
42931ALU Page 267 Thursday, March 10, 2005 10:44 AM The Transients tab includes the following controls: Â Transient Division pop-up menu: Sets the beat value at which Apple Loops Utility detects transients. Â Sensitivity slider: Sets the degree of sensitivity at which Apple Loops Utility detects transients. Assets Drawer The Assets drawer lists the files open in Apple Loops Utility.
Playback and File Management Controls The bottom of the Apple Loops Utility window contains a set of playback controls so that you can listen to the file in Apple Loops Utility. The playback controls do not affect the file’s tags, only the playback of the selected file. Go to Beginning button Stop button Assets button Key pop-up menu Tempo slider Play button Volume slider      Go to Beginning button: Starts playback from the beginning of the selected file.
Opening Files in Apple Loops Utility You can open audio files from within Apple Loops Utility, or directly from a Soundtrack Pro project. You can have up to 2000 files open at the same time. When you open files in Apple Loops Utility, the files are displayed in the File list of the Assets drawer. To open an audio file in Apple Loops Utility, do one of the following: m Choose File > Open, then select the file in the Open dialog. m Choose File > Open Recent, then choose a file from the submenu.
Tagging Files in Apple Loops Utility To tag files, you select the files in the Assets drawer, and then make changes to the selected files’ tags in the Tags tab. When you change the settings in the Tags tab, the changes are applied only to the currently selected files. When you make changes to a file’s tags, a dot appears in the Changes column next to the filename to indicate that the file has been changed.
Tagging Multiple Files When multiple files are selected, only the tags that apply to all the selected files can be changed. Items in the Tags tab that do not apply to all the currently selected files are dimmed and unavailable. Each tag has a checkbox. Select the checkbox next to the tags for which you want to save changes. To tag multiple files: 1 Select the files in one of the following ways: Â Shift-click to select adjacent files in the Assets drawer.
To move a transient marker: m Drag the marker by its handle in the area above the Beat ruler. To change the beat value of detected transients: m Choose a beat value from the Transient Division pop-up menu. Choosing a larger beat value results in fewer transients being detected. Choosing a smaller beat value results in more transients being detected, if they are present in the audio recorded in the file. Sometimes transients occur at points in the audio file other than on a beat value.
Saving Changes to Files When you save changes in Apple Loops Utility, you can save changes to only the currently selected files, or to all files marked in the Changes column of the Assets drawer. Any other file tags are unchanged. This is especially useful when working with a large group of files. When saving multiple files, the checkbox next to the tag must be selected if changes to that tag are to be saved.
Apple Loops Utility Preferences You can set preferences for the startup behavior and default file saving behavior in the Apple Loops Utility Preferences window. Startup  Show Open Panel On Launch: When selected, an Open dialog appears each time you open Apple Loops Utility. Saving  When Converting a WAV to AIFF:  Show Conversion Alert: Shows the conversion alert dialog when you try to save a WAV file.
Apple Loops Utility Keyboard Shortcuts General and File Key command Function x +N Creates a new, blank Apple Loops Utility window and opens the Open dialog. x +O Opens the Open dialog, from which you open files in Apple Loops Utility. x +W x + x +S x + x + option + S shift shift Closes the current window. +W Closes the selected files. Saves changes to the currently selected files.
Key and Scale Type Tagging Key command Function Turns on keyboard tagging. esc Sets the key to A. A shift +A Sets the key to B. B Sets the key to C. C shift +C +D Sets the key to F. F +F +G 276 Sets the key to G# (G-sharp). Sets the scale type to Major. M shift +M shift +B N Sets the key to F# (F-sharp). Sets the key to G. G shift Sets the key to D# (D-sharp). Sets the key to E. E shift Sets the key to C# (C-sharp). Sets the key to D. D shift Sets the key to A# (A-sharp).
Descriptor Tagging For the following descriptor keyboard shortcuts, pressing the key once selects the first (left) item, pressing the key again selects the second (right) item, and pressing the key a third time selects Neither (the center button). Key command 1 2 3 4 5 6 7 8 9 F5 F6 Function Single/Ensemble Part/Fill Acoustic/Electric Dry/Processed Clean/Distorted Cheerful/Dark Relaxed/Intense Grooving/Arrhythmic Melodic/Dissonant Sets Batch Tagging to All. Sets Batch Tagging to None.
Transients Key command Function Increases sensitivity. = Decreases sensitivity. - shift += shift +- Increases sensitivity five times. Decreases sensitivity five times. Nudges the selected marker by one pixel to the left. Nudges the selected marker by one pixel to the right. 278 x + x + Selects the previous marker. Selects the next marker.
Soundtrack Pro Keyboard Shortcuts B Appendix B General and File Key command Function Creates a new, blank multitrack project. x +N x + x +O x + x +S x + shift x + control x +B Adds the selected audio file to the Bin. x + Closes all projects and quits Soundtrack Pro. shift shift Q +N Creates a new audio file. Opens the Open dialog. +W Closes all open projects. Saves the current project. +S +S Opens the Save As dialog to save the project with a new name.
Key command Function Opens the Browser tab of the Media and Effects Manager. x +4 x +5 x +M x + x + option + H Hides all other windows. x + , Shows the Preferences window. x + shift x + option + ] x + Opens the Effects tab of the Media and Effects Manager. Minimizes Soundtrack Pro. Hides Soundtrack Pro. H shift +? + option + ] Opens the Soundtrack Pro User Manual. Moves to the previous (left) tab. Moves to the next (right) tab. Switches the project layout to the Basic layout.
General Editing Key command x +Z x + x +X x + x +C x +V shift shift Function Undoes the last command. +Z Redoes the last undone command. Cuts the selected item. +X Ripple cuts the selected item. Copies the selected item. Pastes the cut or copied item. Ripple deletes the selected item. delete x +D x +A x + shift Duplicates the selected item. Selects all items in the window. +A Deselects all items in the window. Turns snap on or off.
Key command x Function + option + Z Double-click an audio clip. Trims the selected clips. Opens the selected audio clip in the Waveform Editor as a new audio file project. Adjusting Audio Clips in the Timeline Key command Function Nudges the clip or envelope point to the left by one pixel. option + option + option + option + option + shift + option + shift + option + shift + option + shift + Nudges the clip or envelope point to the right by one pixel.
Key command x Function Returns to the default zoom level. +0 Fits the project in the display size. +Z shift x +6 x +7 x +8 x +9 Reduced track height Small track height Medium track height Large track height Editing Audio Files in the Waveform Editor Key command Function Normalizes the audio file or selection. x +L x + shift x + delete x + option + S Saves the current actions in the Actions list as an AppleScript droplet.
Tracks and Markers Key command Function Adds a new track to the Timeline below the selected track. x +T x + control + T Adds a new bus to the Timeline below the selected bus. x + option + T Adds a new output to the Timeline below the selected output. x + shift +T Removes the selected track, bus, or output from the Timeline. Inserts a beat marker at the current playhead position. B Inserts a time marker at the current playhead position.
Recording Key command Function x + option + 1 Makes Take 1 the active take for the selected clip. x + option + 2 Makes Take 2 the active take for the selected clip. x + option + 3 Makes Take 3 the active take for the selected clip. x + option + 4 Makes Take 4 the active take for the selected clip. x + option + 5 Makes Take 5 the active take for the selected clip. x + option + 6 Makes Take 6 the active take for the selected clip.
C Audio Basics Appendix C You can create professional-sounding music projects in Soundtrack Pro without any background or training in music. This chapter describes the basic audio and music concepts you need to know to get started. Basic Audio Concepts In order to understand how you can work with audio files and use the controls, effects, and envelopes included in Soundtrack Pro, it’s helpful to know some basic terms and concepts about audio.
Musical Sounds Musical sounds typically have a regular frequency, which we hear as the sound’s pitch. Pitch is expressed using musical notes, such as C, Eb, and F#. What we hear as the pitch is only the lowest, strongest part of the sound wave, called the fundamental. Every musical sound also has higher, softer parts called overtones or harmonics, which occur at regular multiples of the fundamental frequency.
Envelopes Another aspect of sound that helps us to distinguish between instruments and voices playing the same pitch is a sound’s envelope. Every note played on a musical instrument has a distinct curve of rising and falling volume over time. Sounds produced by some instruments, particularly drums and other percussion, start at a high volume level but quickly decrease to a much lower level, and die away to silence quickly.
Analog Recording When a sound is recorded using analog technology, the sound waves are recorded as a continuous electrical signal. Typically, the vibrations in the air contact the diaphragm of a microphone, setting the diaphragm in motion. A transducer in the microphone converts the diaphragm’s motion into an electric signal. The compressed parts of the sound wave are recorded as positive electrical voltages, and the rarefied parts of the wave are recorded as negative voltages.
Digital recording technology offers several advantages over analog technology for recording sound, including lower noise, wider frequency response, and less distortion (if the sound is recorded at the proper level). In addition, digital recordings can be reproduced any number of times without any loss of audio quality. These advantages, combined with the popularity of personal computers, have led to the rapid development of digital audio as a leading technology for music production.
Digital Distortion To record sound with the widest possible dynamic range, the input level must be set high enough to capture the complete audio signal. When the input level of the signal is set too high, however, the signal exceeds the maximum level that can be sampled or reproduced accurately, resulting in digital distortion. Digital distortion is defined for most digital audio applications, including Soundtrack Pro, as any time the signal rises above 0 dB.
D Solutions to Common Problems and Customer Support D Appendix 42931SUP Page 293 Friday, March 4, 2005 7:45 PM If you run into problems while working with Soundtrack Pro, there are several resources you can use to find a solution. Â This appendix: This appendix includes information about some of the most frequent issues users encounter. Â Late-Breaking News: A late-breaking news page in the Soundtrack Pro Help menu provides last-minute information that didn’t make it into the manual.
Solutions to Common Problems Audio Files and Audio Interfaces There are several factors that can affect performance when working with digital audio files. Observing the following guidelines will help you maintain the highest possible performance when working with Soundtrack Pro projects: Â Because digital audio files require intensive processing by the computer’s processor, do not perform other processor-intensive tasks while working in Soundtrack Pro.
42931SUP Page 295 Friday, March 4, 2005 7:45 PM 8 Visually compare the original track and the newly recorded track. Zoom in to identify a place where the tracks have identical waveforms but are not lined up. Set the playhead at the corresponding identical points on the two waveforms and subtract the two Beats field values. This is the latency in milliseconds. If the recorded audio is late (to the right), you enter a positive value; if it’s early (to the left), you enter a negative value.
1/3 Octave Analyzer 205 4-pin connectors 16 6-pin connectors 16 A AAC files 56, 144 ACID music application 263 Action Insert bar 32, 173 actions applying 171 bouncing realtime effects 170 comparing 175 deleting 176 described 31, 46, 170 editing 172 file length and 176 flattening 174 limitations of 176 reordering 172 scripting in Waveform Editor 181 settings 172 turning on/off 172 working with in Waveform Editor 170–176 Actions button 32 Actions list 32, 171, 173–174 Actions pop-up menu 32 Add Effect button
inserting noise in 164 inserting waveforms in 165 normalizing 162 overloaded signal 178 pasting in Waveform Editor 158 phase issues 178 pops 178 power line hum 178 recording. See recording audio reducing noise in 168–169 silence in 163–164 silence threshold 178 temporary mono mix 140 in video clips 189 volume.
tagging with Apple Loops Utility 263–278 time stretching 160, 166 unable to find 74 WAV 56 audio input 14 audio interfaces 15 audio output 14, 18–19 audio postproduction 7, 198 audio repair. See analysis tools audio tracks.
reordering 127 selecting 126 sends 137 setting outputs for 129–130 soloing 130 stereo level meters 133 volume levels 127–128 working with 125–134 chorus effects 201 Clear Fixed button 33 clicks 178 Clip display 43 clipped signals 178 clipping 138, 139, 198 clipping indicators 139 clips.
directories 65–67 disk space 14, 41, 235 disk space indicator 41 distortion 196, 198, 292 distortion effects 196 distributing projects 247, 252 dithering 147 Dock, minimizing windows to 47 downsampling 83 drag handles 27, 30, 91, 92 drop frames 190 droplets 181, 283 dry signal 203 dual mono files 248–249 Duration value slider 43, 44 DVDs audio 76, 291 distributing projects on 247 sample rate 76, 291 video for 83 DVD Studio Pro, editing clips from 260 dynamic range 18, 178, 197, 205, 292 dynamics 196 dynamic
described 289 effects and 220, 227 hiding 106 master 219, 220–221 output 106 overview 219–220 percussive 289 removing 227 sends and 227 showing 106, 220 sustained 289 Timeslices 229–232 track 106, 220 track pan 220 volume 220 envelopes disclosure triangle 28 EQ (equalization) frequency ranges used with 199–200 graphic 201 overview 198–201 parametric 201 EQ effects 196, 198–201 equipment connecting audio equipment 15–19 example hardware setups 19–21 setting up.
General preferences 75 Global Timeline view 26, 97 Global Waveform view 32, 150 Goniometer 205 Go to Beginning button 25, 55 Go to End button 25, 55 Go to Peak buttons 42, 139 graphic EQs 201 gridlines 93 H hard disk 14 hardware requirements 13 sample rates 83 harmonics 288 headers 27–28 help keyboard shortcuts 280 onscreen 10 high frequency range 199 highpass filters 200 hints 43, 61, 70 hiss 294 Home button 34 hubs 15 hum, power line 178 I icons busses 27, 101 changing for channel strips 131 channel str
Final Cut Pro 191–193 information about 44 inserting 120 keyboard shortcuts 284 naming 121 scoring 190–193 time 120–122, 190, 191 types of 120 uses for 119 using in Waveform Editor 181 using with video 190–193 working with 119–122 marker titles, viewing 121 MAS plug-in 14 master envelopes 28, 219, 220–221 Master Envelopes button 28 mastering process 141 master Timeslice 230–231 master volume slider 24 Matches list 36, 37, 60, 62 Measure in pop-up menu 43, 44 measures 82, 84, 98 Media and Effects Manager 33–
recording.
phase shifters 202, 289 phone plug connectors 17 physical output channels 28, 30, 91, 92, 129, 251 pink noise 164 pitch 288 Play/Pause button 25 playback 50–56 audio files in Wave Editor 152 changing mode 117 controlling 25, 50–54, 98–99 cycling 98–99 keyboard shortcuts 56, 186, 280 looping 87, 98–99, 117 MPEG-2 183 non-looping 87, 117 starting 50 video 185–188 Playback buttons 43 playback mode 117 playback position 55, 280 playback region 98–99 Play button 50, 55, 69, 161, 237, 238 Play From Beginning butt
QuickTime MPEG-2 Playback Component 183 R RAM 13 RCA connectors 18 Read Before You Install document 13 Read mode 228 realtime effects 207–215 See also effects adding 208–209 adjusting parameters 209 advanced settings 215 automation 213 bouncing 170 bypassing 211 chaining 210–211 overview 195 parameters 213 presets 217 removing 214 reordering 211 resetting to defaults 214 sends and 212–213 showing 170 working with 207–215 Record button 25, 55, 237, 238 Record Enable button 27, 31, 236, 240 recording audio 2
projects 54 selections 54 Search database 65–67 searches, keyword 36–37 searching.
system setup 13–21 connecting audio equipment 15–19 control interface 21 example hardware setups 19–21 FireWire audio interface 21 overview 13 powered speakers 19 software installation 13 system considerations 13–14 USB audio interface 20 video output devices 22 T tabs described 24 detaching/reattaching 48 keyboard shortcuts 279–280 reordering 47 tagged audio clips 115–116 tagged audio files 60, 263–278 tags 263, 265, 266 Tags tab 264, 265–266 tail effect 86, 170, 171 takes.
selecting audio clips in 107 setting height of 97 showing 220 soloing 103 time format 104 working with 99–106 transducers 289 transients 263, 266, 271–272, 278 Transients tab 264, 266–267, 271 transport controls 24, 25, 32, 55–56, 185–186 Transpose pop-up menu 43 treble 169, 199, 288 troubleshooting 180, 293–295 TRS (tip-ring-sleeve) connectors 17 truncate mode 85 Type buttons 44 U Undo command 71 Universal Serial Bus.
processing audio files in 161–170 recording audio in 240–241 Sample units 149 saving projects 146–148 scripting actions in 181 scrubbing audio files in 153 scrubbing projects/selections in 54 selecting channels in 155–156 selecting parts of audio files 154–156, 159 selection details 44 supported audio formats 144 Time Ruler units 148 using markers in 181 using Timeline controls in 153 views 150–152 working with actions 170–176 zooming in/out 149–150 waveforms clip offset and 117 frequency of 165 inserting i
